chelseacollegemacatalogue2012
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KupambanaChelseaCollegeMA2012TRANSCRIPT
Chelsea College of Art and Design
2012MA MRES
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Kupambana was founded by LEWIS PR, a global digital communications agency, to connect the creative arts with communications.
The Foundation spans the worlds of the creative arts and the communications industry by sponsoring the most outstanding creative talent through education and career development. It helps train students and professionals and carries out insightful research into the creative industries globally.
To find out more visit www.lewispr.com/kupambana
THE KUPAMBANA FOUNDATION IS DELIGHTED TO SPONSOR THE CLASS OF 2012 FROM CHELSEA COLLEGE OF ART AND DESIGN
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IN T RODUC T IONF OR E WOR D
M A F INE A R TM A GR A PHIC DE SIGN C OMMUNIC AT ION
M A IN T ER IOR A ND S PAT I A L DE SIGNM A T E X T IL E DE SIGN
MR E S A R T S PR AC T IC E
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The MA catalogue, which brings together a rich diversity of art and design practices, is itself a wonderful tribute to the kind of cross course collaboration we promote within Chelsea’s Postgraduate Programme. The catalogue is entirely designed and organised by MA students, and the catalogue committee and designers deserve a huge thanks for the huge time and effort they have put in to creating such an elegant documenting of the MA courses. It is symptomatic of the kind of energy students invest into their time at Chelsea.
This sense of inter-disciplinary collaboration is central to the philosophy of the postgraduate community at Chelsea, without ever compromising the integrity of each course’s distinctive identity. This is manifest in a number of collaborative projects across disciplines. These included
Introduction
the Prospectus event in the Triangle Space, coordinated by Professor Neil Cummings. This project seems important to mention here in that it attempted to trace the historic trajectory of experiments in public art education. This spirit of experimentation is firmly embedded within the curriculum of all the MA courses, and I find it particularly refreshing that flicking through the catalogue there are so many crossovers of concerns.
The sense of inter-disciplinarity also informs the General Theor y Forum. The Forum, run by Dave Beech, offers the possibility to engage common critical and cultural ideas. It provides a shared platform where complex theoretical ideas can engage with actual practice. Indeed, the Forum encourages students to actively engage with such debates from the perspective of their own discipline, and
to create an open environment where we can debate real dif ferences where they arise.T he cur rent show of pos t graduate wor k also demons trates an at t i tude of self- cr i t ic ali t y, where s tudents are encouraged to re - evaluate their prac tice and to evol ve a contex tualis at ion of their wor k . S uch a philosophy infor ms all the cour ses , where prac tice is infor med by, and in ter ms infor ms , research . A s such, prac tice and theor y are f ull y integrated. T his research emphasis also under l ies the connec tions to the C C W Graduate S chool , which suppor ts taught pos t graduate and research s tudents , and r uns a comprehensi ve programme of talks and events .
F inall y, I hope you get the chance to f ull y exper ience the sheer di ver si t y of wor k on display at C helsea , which is onl y made pos sible by the amazing commitment of s taf f, both ac ademic s and the technic al team .
Dr Ken W ilderPos t graduate Programme Direc torC helsea C ollege of A r t and Design
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T he c atalog ue that y ou are holding both documents and c elebrate s the M A f inal ex hibi t ion at C hels ea C ollege of A r t and De sig n in 2 01 2 . T he M A ex hibi t ion (and c atalog ue) demons trate s w hat our s tudents have made of the oppor tuni t y of s tud y ing at C hels ea . In this s ens e , there is no hiding plac e f or them or indeed f or us .
At Chelsea , we emphasise the impor tance of research in our creati ve proces ses . T he tes t of this focus on
Foreword for the MA Catalogue
our under s tanding of research , is in the quali t y of innovation and the radic al nature of the designs and ar t wor ks you are about to see (or are per using in this c atalogue) .
I t is impor tant to recognise that A r t and Design s tudents do not onl y inves t in their educ ation through the fees they pay. T hey also inves t in the mater ials they choose to make their ideas real . T his f isc al inves tment is more than matched in the intensi ve t ime and energ y
spent in the c aref ul creation of each of the indi v idual wor ks represented here .
I hope you agree with me that the work in this exhibit ion is a proud tes tament to not only these ver y real sacr if ices , but to ex traordinar y levels of facil i t y and dar ing .
Our s tudents and the wor k that they produce are par t icular, engaging , and uns toppable . Quite f rank l y, we are ver y proud of them .
George Black lockDean of C ollege
C helsea C ollege of A r t and DesignUni ver si t y of the A r ts L ondon
7MA FINE ART
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W H AT I S ‘ar s ’ ? A R S : ad vanced record s y s tem A r s : Israeli s lang refer r ing to a s tereot y pe of a male of coar se manner, f lashy jewelr y and t y pic all y wor k ing clas s socioeconomic level
ar s(1175 -1 225 Middle English , Old French) : or ig in word of ar t
Ter m of ar s used to mean ar t and sk il l in the pas t . However, ever yone may consider ‘ar s ’ as a par t of bod y even though there is no’E ’ af ter ‘ R ’
More impor tant thing is what ar s doing rather than meaning of i t .
P HO T O B Y Jean K im
+44 07832973380 ars .ar tcompany@gmai l .com w w w.ars2008.com
Minwook AnKorea
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elenaar t igass@gmai l .comw w w.elenaar t igas .es
+44 07503347703
Elena Artigas
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I am interested in the anatomy of memor y, as I regard it as a microscopic liv ing being that can only exist through the mind. I t continuously develops in the pursuit of establishing the identity of the organism. T hrough the medium of drawing these concerns are translated in my work as graphite, water and mark fuse, compete and interact on a tactile sur face plane creating endless possibilities of space and form.
Dalia BaassiriLebanese
dbaassi r i@gmai l .comdal iabaass i r i .com+ 44 7780 451145
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B oth my prac tice and research explore how the landsc ape has been cons trained in the pas t , and how i t c an broaden i ts pallet in relat ion to the nature of painting in a contemporar y contex t . To me the landsc ape as a painting subjec t is neither a read y -made thing to depic t nor a s tat ionar y, g i ven scene. M y painting is not on pur pose of depic t ing the natural shaped pat ter n or mir ror image of nature , but more on the aim of explor ing the pic tor ial landsc ape in bet ween the real and imagined, f iguration and abs trac tion , f latnes s and depth , intellec t and emotion , idea and mater ial reali t y, l ight and dar k and r ise and fall .
Soo Eun, BaikS. Korea
+44 77 3815 3821sooeunbaik@gmai l .com
w w w.sooeunbaik .com
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‘ T his isn’t a nor mal S unday ’ (201 2) S ingle - channel v ideo s t i l lDuration 6:11
Katriona Beales
+44 7841 831107katr iona_beales@hotmai l .co.ukw w w.katr ionabeales .com
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Mind Map 3 3Oil on C anvas27 x 35 cm
Rebecca ByrneUSA
079 8175 1159rbyrneblack@gmai l .comw w w.rebeccabyrne.com
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Light yearsPer for mance V ideo201 22 minutes ( loop)
I am interes ted in transfor ming my bod y phy sic all y and I alway s enter tain a hope to ex tend my bod y ’s pos sibil i t y.
Through the technolog y of video editing , I can transform myself into an immor tal creature by doing exercises. As a human being , this body only exists in the vir tual video time.
Choi Yuk Kuen, BouieHong Kong
choi .yukkuen@gmai l .com w w w.choiyukkuen.hk
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Untit led . 201 2 .collage
Seeun ChoKorea
+44 (0)7584040220seeun.cho5@gmai l .com
seeuncho.tumblr.com/
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T he nature of my prac tice is based on the applic ation of tradit ional and new technologies in relat ion to photography, a medium that is endles sl y changing . Ques tioning the f uture of photography and what has become of the medium’s or ig inal f unc tion , I am concer ned with the los s of the phy sic al element in photographs due to dig i tal izat ion . I am also intr igued in the f reedom and acces sibil i t y now pos sible . T he wor k is an exploration of how the content of images deter mine this los s and explore new way s of presentation beyond the pr int .
Eleanor CunninghamEngland
eleanorcunningham80@hotmai l .comw w w.cunningar t .co.uk07779598043
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Adam de BoerUnited States of America
w w w.adamdeboer.com
B aturaden Room S creen (B et ween the A dored and the A dorer Falls the Shadow) 201 2
acr y lic and oil on batik cot ton tex t i le in c ar ved wood ar t is t f rame
137 x 247 x 43 cm
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… Jus t one day among many day s had somehow got c aught in a pic ture , metre or song ……wr ites one of the mos t br i l l iant creati ve geniuses produced by Indian Renais s ance, Rabindranath Tagore .I t is al l about the realizat ion of perception that happens while witnes sing the ex is t ing reali t y.M y whole proces s of creation is a v igorous at tempt to show that transfor mation and f reedom go hand in hand as far as ‘cons tant change’ is concer ned.I spend mas si ve por t ion of my day spot t ing var ious ac tions al l around me as s t i l l a par t of me wil l alway s be a dreamer. T his haz y gateway is al tered by ideas , through the cons tant ongoing proces s of thoughts , feelings and sensit i v i t y of touch . ‘ Touch’ is a way of being inspired by or tak ing inspirat ion f rom and al ter ing i t with my belief s and transcending the pos sibil i t ies for i ts development .Spontaneit y being an impor tant element of my proces s has been ref lec ted in my wor k and subconsciousl y exposed the dar k and br ight s ide of hidden feelings . A pure expres sion of the deepes t thoughts and belief s .F or I do believe ,
“A r t is ts are the mos t exposed people of al l .”
+447568053381 +919820922550rajv id_88@hotmai l .com
Rajvi DedhiaIndian
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El Greco as a Door
201 2 , oi l on c anvas , door hinges and door handle , H110 x W 95
Produced by a f ic t ional f uture , dim-wit ted societ y who occupy an is land c alled ‘Gr 8 Br i tan’, this communit y are tr y ing to recreate their los t cultural her i tage by mak ing ar tefac ts based on what they see as purel y tradit ional Br i t ish ar t , but in doing so, their lack of k nowledge, sk i l l , misguided and cor r upted search engine / W ik ipedia results produces war ped and dis tor ted old mas ter wor ks and national his tor ies . Hav ing also los t the concept of ar t as precious objec t , these newl y created his tor y ar tefac ts then become nothing more than mundane objec ts of ever yday use, f ulf i l l ing the needs and wants of these imaginar y people .
07530 412 803nickdedics@hotmai l .co.uk
w w w.nickdedics .com
Nicholas DedicsUnited Kingdom
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T he never ending stor y We are the forgotten ghost , says war widow. Somali pirates captured by Nav y to face cour t in Seychelles . Women boiled chopped body of husband Implant clinic asks women to sign away r ights Stroke v ictim given judges’ blessing to get help to end his life . Migrant posed as br ide to stay in UK Secret of happy marr iage: a mirror couple. Banker posed as a doctor in campaign against former gir lfr iend. Robber y gang acted as f iremen to carr y out raids My gun just feels like an ex tension of my arm now. Apple under f ire over child labour ad unsafe plants . NO one wants a self-maid man Glue in hair ex tensions could have caused death of clubber. An avalanche has killed three bathers at a hot spr ing in nor thern Japan, which has suf fered snow storms since late last year. Parents of boy killed by fairground r ide vow to f ight for more ‘answers’ Ready to die ? Just k idding
w w w.theklaek .com Thekla .ek@gmai l .com
Thekla (Sotheany Sophie Ek)
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S ea, 201 2Giclée Pr int on Hahnemuhle Photorag Paper
l ize l ton@hotmai l .co.ukw w w. l ize l ton.com
Liz EltonUnited Kingdom
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Untit led, 201 2 , HD v ideo of t wo sc anner-pr inter s and unique colour sc ans
UN-Heavens G ate , 201 2 , HD v ideo of per for mance by C ait l in Smy th , s teel , s i lk , nike air dunks , 270 x 100 cm
Inf ini te P lay back , 201 2 , Record player, unique v iny l record, table , speaker s with reading by K at y Evans-Bush
Dar k Mat ter Detec tor, 201 2 , dig i tal animation
Rosie FarrellUnited Kingdom
w w w.ros iefarre l l .orgros iefarre l l83@hotmai l .com
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I cur rentl y wor k mainl y in photography and sculpture . In my photographic wor k I am interes ted in the sculptural quali t ies of the bod y, landsc ape and objec ts . I explore the way in which these mater ial quali t ies c an embod y dif ferent k inds of relat ion bet ween mater ial and ps ychologic al notions of the inside and the outside, the int imate and the public . M y sculptural wor k is mainl y centered around the manual prac tices of k nit t ing , weav ing , crocheting and s t i tching , where these ac tions are per for med in an aleator y or random way. I am interes ted in these ac tions as proces ses of grow th in t ime (a basic mater ial is transfor med into s tr uc tures that c an potential l y grow ad inf ini tum), and on how the ever changing result ing s tr uc tures (g i ven their malleable charac ter) cons tantl y challenge the notions of inside and outside, cover ing and revealing , trapping and let t ing go .
Cristina Figueroa PalauColombia
cf igueroapalau@gmai l .com+44-77 127 64305 / +57-315-628 7736
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Raquel GarinSpanish
+44 7741175461+34 678 983 303
raquelgar inar@gmai l .comw w w.raquelgar in .com
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T ile : we are al l bl indnes s without l ight .Medium: dig i tal image.
+447791935744beckf low@gmai l .com
Sang Baek Han
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Shiew Eng produces a por trait ser ies of pre-pubescent children. T he ambiguous looks of children painted with a gar ish light are vaguely unsettling to look at and compel our contemplation. T hese paintings speak eloquently about our culture of passive seeing , the compulsions inscr ibed by gender and the more insidious per versions that exist .
Malaysia
+65 90622977 (SG) / +60 198887077 (MY)hi ish [email protected]
w w w.hi ish ieweng.com
Shiew Eng Hii
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M y wor k of ten focuses on proces ses of explosi ve grow th and dec ay, decons tr uc ting and recons ti tut ing mater ials and iconography in a contemporar y contex t . More representational wor ks display dec ay or mutation of a f igurati ve objec t into something else that f uses tradit ional ideas about the f igure with more recent references to the bod y in mater ial based sculpture . Of ten bor rowing aes thetic s that reference mil i tar y indus tr ial his tor ies that have been c as t into the foundation for ever yday l i fe , my wor k repur poses them for a f ine ar t contex t . I am fascinated with both the concept of biologic al c ycles and anatomic al f unc tions for building s tr uc tures conceptuall y and phy sic all y, look ing to abnor mali t ies in indi v idual and ecologic al bodies to infor m my content .
+44 0707857522881rober thitzeman@gmai l .comrober thitzeman.com
Robert Hitzeman
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T here is a philosophic al s trand at play in the recent wor k of Juhee Hong . T he wor k does present us many paradoxes as sociated with Buddhis t philosophy “ for m is emptines s ; emptines s is for m”.
In her works Juhee explores the notion of what happens af ter an event , the resonance, the echo, the trace of what is lef t behind and she is attempting in this new ser ies of ambitious and intr iguing works is to tempt her audience to get closer to a sor t of abstraction to suggest a link between time and its demise. To achieve this she use ironic , questioning and play ful methods and forms to fur ther imbue the v iewers’ experience of the present , with the past and future, from which the present can never be separated.
Juhee HongKorea
44 7713 163518hjhee1088@gmai l .com
Juheehong.com
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‘ I t feels l ike a house’201 2
F ound objec t ins tallat ion with l i v ing gras s , sound and t wo f i lms .
[email protected] w w.rebeccahooper.co.uk
Rebecca Hooper
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T I T L E : T HE M AT T E R OF MODE R N FA BL E I IM AT E R I A L : wax , oi l paint .
j iheenim@gmai l .comw w w.j iheehwang.com/
Jihee Hwang
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07813 143286c.jonerheim@btinternet .com
SwedenCharlotte Jonerheim
‘ Precious objec ts I , I I ’
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07582330368 ever ydayonear th@gmai l .com
Oil on linen (for Blueberries (40 x 50 cm)) and oil on canvas (for Walking & falling (45 x 45 cm)), both are painted this year.
KoreaSu Jung
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Oil on linen (for Blueberries (40 x 50 cm)) and oil on canvas (for Walking & falling (45 x 45 cm)), both are painted this year.
Kan Xie
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Oops! Out Of B ounds – – Transgres sing S ocial B oundar ies
T his bod y of wor k explores the manifes tations of transgres sing social boundar ies , the repercus sions and rever berations . T he ar t is t explores the subjec t in relat ion to sexuali t y, v iolence, bull y ing , pr i vac y and v ulnerabil i t y –in par t icular, how the s tage is set and the af ter math . T here is usuall y a set of c ircums tances or ser ies of events that lead to a belief or s i tuation , which then g i ves r ise to of fence . T he imper sonal v iew of t expres sed of the transgres sor is that he is wor thles s but when the ac tor invol ved is other wise valued and needed, the pain is deeper. S tepping over the bounds c an c ause profound changes in people’s l i ves and therefore societ y as a whole .
United Kingdom
Johanna Keogh
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A r tis t S tatement
‘ To be naked is to be oneself. To be nude is to be seen naked by other s and yet not recognized for oneself ’. -John B erger, Way s of S eeing
I inter v iew people and am paint them based on their voice recordings and ques tionnaire they f i l led out . B y ar ranging inter v iews and lur ing people to imagine how i t wil l be l ike that they are naked before me in a hotel room, I tr ied to create a tension bet ween them and me and to c apture i t , and this was when I found they bec ame highl y self- conscious .
T he ser ies of ac t i v i t ies , ask ing people to be naked, inter v iewing and painting them imagining their naked bodies is about break ing social boundar ies but also about think ing of what the boundar ies are in the f ir s t place and why. In order to grasp this in real ter ms , I am look ing at indi v iduals r ight nex t to me.
[email protected] w w.jeankims.com
Jean Kim
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F loating Spir i tWr ig gling DesireS tabile E goGrowing V is ionRealised Wor ld
+44 7703651425nakyoungkim0114@gmai l .com
w w w.nakyoungkim.com
Nakyoung Kim
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M y wor ks are an expres sion of objec ts based on my own per spec ti ves , and I bur n incense on paper to create the for ms I wish to depic t . T he reason for selec ting this bur ning method was not merel y as a means of expres sing a for m, but also includes an ac t of c as ting a spell . Bur ning the piece of paper is an ac t of bl ind fai th that my longings wil l someday be f ulf i l led . Retrospec ti vel y, I am r uminating on the regret and memor y, look ing back to the event . I began to s tar t to wor k in the way of bur ning the paper on incense . From old t imes , the incense in the Or ient is used as the medium for connec ting the human and the being l ike a god on the above in var ious har ves t ceremonies and i t is to l ink as i f there are no border bet ween the ear th and the sk y, or reali t y and unreali t y.
+44 7845524348thekshyun@gmai l .com / theksh@hanmai l .net
Republic of KoreaSang-hyun Kim
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James Lander
Arbus, D. (1995) UNTITLED. London: Thames & Hudson.Burland, C. (1969) The exotic white man. London: Weidenfeld.Feest, C. (1980) The art of war. London: Thames & Hudson.Galembo, P. (2010) Maske. London: Chris Boot.Geoffroy-Schneiter, B. (2000) Primal arts. London: Thames & Hudson.Gordon, L . (2010) Kanaval. Vodou, politics and revolution on the streets of Haiti. London: Soul Jazz Publishing.Hahne, R. (1993) Black mask and up against the wall motherfucker: incomplete works of Ron Hahne, Ben Morea and the Black Mask Group. London: Unpopular Books & Sabotage Editions.Lips, J. (1937) The savage hits back: or, the white man through native eyes. London: Lovat Dickson. Lommel, A. (1970) Masks: their meaning and function. Zürich: Atlantis Verlag. Loos, A. (1908) Ornament and crime. Riverside: Ariadne Press. Samachson, D & J. (1973) The first artists. Tadworth: World’s Work.South Bank Centre. (1991) Exotic Europeans. London: South Bank Centre.
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Our concept of humanit y and what def ines human behav ior is neither f ixed nor scientif ic all y ver if iable . M y wor k explores the occultat ion of human and animal behav ior and asks if i t is pos sible draw dis t inc tions?
(075) 35682549lawlor.wi l l iam@gmai l .com
Republic of Ireland / United KingdomWilliam J. C. Lawlor
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+447429499440 / +573108670179sant iago@sant iagoleal .comw w w.sant iagoleal .com
Colombia / USASantiago Leal
S antiago L eal ’s wor k s trokes with the imbalance of his imaginar ies desires and the dail y fac ts that he faces in reali t y. S ince his f ir s t wor ks , he invol ves the fate and end of his utopian wonder ings . Dur ing his researches his has been engage with dif ferent tr ig ger s such as sexual behav ior, power, abundance and pover t y, cros s behav ior s bet ween humans , submis sion , rel ig ion , desire , gender and boundar ies . S ince 200 4 he has shown his wor k al l over his countr y in galler ies , museums and organizations such as the museum of moder n ar t in B ogota (M A MB O) 200 4 2005 and 200 9(B ogotá biennale) , F oundation NC-ar te (B ogotá) 2011 among many other s . C ur rentl y he is wor k ing with- L A G aler ía –A r te C ontemporáneo, B ogotá . (ht tp: // w. la-galer ia .com .co / ) where he had a solo show in 201 2 with his new research invol v ing maps . In 2011 he recei ved the big ges t scholar ship in his C ountr y, C olombia (B ank Of T he Republic) .
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“A R RGH ”, 201 2ins tallat ioncolour on ceramic
+44 7427690514dexulee@gmai l .com
KoreaDaechul Lee
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+44 7582329677 [UK]+82 1062545722 [KOR]e.hyunjoon@gmai l .comw w w.ehyunjoon.comw w w.eetota lar t .com
KoreaE [Hyun Joon Lee]
In my wor k , I aim to realize the beaut y and aes thetic al value even in a cor r upt al ter-moder n societ y. I inter pret threatening images f rom my childhood exper iences /memor ies in Korea and tr y to conver t them into peacef ul ar t ifac ts , the ver y peace we are hoping to achieve, but alway s with a ironic s at ir ic al nature . T hese wor ks are realized with such things as collec ted read y -mades , sound ins tallat ions and per for mance.
“ Peace wil l never come, at leas t unti l we died ”
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< R ipping , R ipping and Ripping > s ingle v ideo channel _ 41min 36sec _ 201 2
T he wor ks that I have been focusing on so far c an be di v ided roughl y into t wo t y pes . One is focusing on the expres sion of obses si ve tendenc y of mine . T he other one is completed in the proces s of my tr ial to esc ape f rom compulsi ve obses sion of my bod y.
I r ipped 5 00 hundreds of A 4 paper s s i t t ing on the ground of my s tudio . Frank l y, in the c ase of this per for mance, I got inspirat ion f rom my obses sional behav ior of r ipping newspaper s or useles s paper s . T hrough the ac tion of tear ing paper s continuousl y over 4 0 minutes , I could more consider about the relat ionship bet ween human’s bod y, mind and i ts behav ior s .
+44 (0)7585 709927hyihy i7@hotmai l .com / ar t ist@leehyi jung.com
w w w. leehyi jung.com
South KoreaHyi Jung Lee
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A Way of think ing A lone ->But not alone -> S ur rounding -> You -> People . . . P eople . . . -> B e Crowded -> B e C onf used -> But get t ing together -> Get Inf luences and g i ve inf luences -> Gi v ing and tak ing -> A gain and again . . . -> B e connec ted -> B e communic ated -> B e mixed -> Mix ing-Dipping-Pour ing -> B e coloured and be deepened -> Var ious -> S omething new -> M y or ig inal traces and people’s traces in i t -> I am s t i l l there but I am with you Pas s you by I I I , 201 2 , mixed media , dimension var iable
Se-Jung LeeSouth Korea
617ls j@gmai l .com44 74 2954 1643 (UK)82 2 535 9370 (South Korea)sejunglee.com
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T hrough reac tions of the v iewer s , I wanted to expres s the double -sided ef fec ts of ad vancements in dig i tal technolog y and media technolog y on humans . T he faceles s sculpture embodies the moment of ini t ial l y creating an avatar online and by projec ting the v iewer ’s face onto the sculpture , i t display s that anyone in the real wor ld c an for m another self on the Inter net . T he transfor med image is ac tualized as the copied v ir tual image as the face of the ac tual audience is projec ted onto the cur ved sculpture .
Yonghyun Lim (Jackie)Korea
http://blog.naver.com/08anaki
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F or f ur ther quer ies please contac t the ar t is t direc tl y.
Xiao-yang LiChina
0781 7299 272xiaoyangl i589@gmai l .comw w w.x iaoaroundthewor ld .com
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I am a sculptor wor k ing with found and natural objec ts , c as t metal and photography. M y wor k explores themes of sexuali t y, biolog y, consumption , and transgres sion . I am interes ted in the so - c alled ‘ feral ’ nature of human beings , agains t the cons traints of contemporar y societ y.
T he pic tured wor k Hear t and Brambles (2011), produced in c as t aluminium in C helsea’s on-si te foundr y, was featured in the Royal A c ademy ’s 201 2 S ummer E xhibi t ion .
I was self-taught unti l my Pos t graduate Diploma at C helsea in 2010, ahead of this year ’s M A in F ine A r t . M y f ir s t public sculpture was ins talled at the main entrance to Haref ield Hospital , Middlesex , in December 2010, shar ing ground with wor k by A ntony Gor mley and Gray son Per r y. M y sculpture for the smok ing ter race of the I v y C lub in L ondon, was mentioned in the Evening S tandard ’s 2011 l is t of S ex ies t places in L ondon . . . for i l l ic i t l iaisons . Prev ious commis sions include wor k for Nicolas Roeg ’s f i lm, Puf f ball , in 2006.
Lana LockeUnited Kingdom
+44 (0)7788 [email protected] w w. lanalocke.com
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T it le : Wednesday 8 /2 / 1 2 15: 3 4Oil on C anvas20 ”x 20 ”
Painting is a ver y personal and revealing process . I believe it is a product of a specif ic time, place and state of mind. I relate to my work as I would a journal entr y ; it is a record of those three hours at a cer tain time of day. In this way, I want to use painting as a way to record time. It is an intimate and intrusive experience to read a journal as well as to v iew a painting . Of ten I use clothing as a vehicle to convey this . I believe our clothing is as personal and static within time as an old journal entr y. I t can be an uncanny experience to read old journal entr ies , or to look at my old work . I want to represent this feeling of retrospection by recording events from memor y and using my own journal as a source.
Alison LucasUnited States of America
aluca243@gmai l .com
51
S ub - objec t , inv is ibi l i t y and gazing (201 2) : T he inv is ible subjec ts of human beings are s imilar to their own inv is ible eyes and faces (except the top of nose) . In this wor k , the unseen subjec t is embodied by the face without color s . However, as soon as people gaze any objec t in the ex ter nal space, their desires have f lown through their eyes . Due to the desire , the objec ti ve charac ter s such as color s , tex ture , have been transfor med. In order to s implif y the unk nown desire , a name of “ bod y image” which bases on per sonal k nowledge and exper ience c an be used to inter pret the s ight of gaze . People alway s projec t their own “ bod y image” f rom their eyes to what they see, so that the ambiguous v is ion leads to the changeable wor ld .
Chen-Shih, LuTaiwan
+886 912553056chr [email protected]
w w w.mingar t .com
52
Yes , there is no al ter nati ve to the break of day, and how to f ind the edges . T he aby s s , and look at the black hole of endles s is the s tar in your head, and now the space behind. Each of these handpicked. T heir heads in the pas t but c an not lead to a great f uture . B et ween the dev iat ion and f i l l in a place in a dif ferent way of think ing . I t is pos sible to add the f loating force of the v ibrat ions and f requencies . Remember, landsc ape, you c an change the mood, or, i f this is the onl y cons tant in your eyes? Respec t and cur iosi t y, but fear not , as the approach is the awakening of consciousnes s , but as so ver y impor tant . I t is pos sible to s ave the day for the s tate is not to think about the key, replace, and make a decis ion about the f uture .
Alex Marzeta & Vanessa PageUnited Kingdom
amar zeta@gmai l .compage.e .vanessa@gmai l .com
53
‘C ons tr uc tion-Des tr uc tion- C ons tr uc tion’, (201 2) .
Documentation of a collaborati ve projec t by C laire Mc A rdle and Raquel G ar in .
Claire McArdleUnited Kingdom
07547422148cla i [email protected] ://cla i remcardle .co.uk
54
In order to expres s my self through contemporar y ar t prac tice I wor k predominantl y in sculpture , whils t also prac tic ing in the expanded f ield of v isual cultures . I am specif ic all y interes ted in the technic al is sues which ar ise in the development of a projec t when dealing with mater ial i t y, a proces s through which I aim to explore my ideas in any s i tuation or env ironment . I f obs tacles come up, so much the bet ter.
Daniel Mera MartinezSpain
07428887120d.meraac@gmai l .comw w w.danie lmeramar t inez .com
55
T hrough f ilm and v ideo my work builds relations between histor ical and political knowledge, places, exclusion discourses and stor y telling strategies . I work with class struggles, amateur culture, its mistakes and its possibilities , v iolence, with local groups, black holes in histor y, f ragments of information, dysfunctional structures, social and political claims, and the tense relationship between the of f icial and the marginal , the collective and the indiv idual, the feminine and the masculine. My projects star t with a documentar y research and generally end with the construction of narrative situations in which the collaboration and negotiations with people are of great impor tance.
Ana María MillánColombia
[email protected] w w.anamar iami l lan . info
56
I am of ten c aught by the memor y traces of fered by objec ts and some atmospher ic event of places . T hen I move to think how they become a meaning and how i t replaces the absence of dis appeared events . T his ques tion has dr i ven me to desire inv i t ing par t ic ipants to the wor k . T he wor ks are encouraged to be interac ti vel y touched by people .
(wor k t i t le /pic ture) S o Young Moon (201 2) “ I put chops ticks on the palm of my mother ’s youth” Mixed media , ceramic s , crochets
So Young Moon
07889 929 619 not .that .young.moon@gmai l .comhappi ly-never.b logspot .co.ukw w w.so-young-moon.com
57
Sakura Moris
mai l@sakura-mor i .com07810532378
58
June 201 2 L ondon
Dear Mohammad,
W hite c an be indeed as ter r if y ing as mak ing ar t .
At number 9 F ocus Road you s aid there is a place c alled T he A mphigaller y where anyone c an enter, wr i te down a word then wipe i t of f and leave . People are f ree to choose any shade.
Now, as far as I c an rec all f rom our las t conver s ation Tuesday f rom 5 to 6 o’clock i t ’s the onl y t ime I c an get there and open the door where the note book is kept .
May be you c an thus f ind the trace .
Your s fai thf ull y,
Mohammad
+44 (0) 7717 283817mai l@mohammadnamazi .comw w w.mohammadnamazi .com
IranMohammad Namazi
59
M y wor k , that is a ques tion of our k nowledge of the ex ter nal wor ld , cons tantl y s t imulates v iewer ’s consciousnes s .
Hyunhwa OhKorea
+44 7898 831630hyunhwa11@gmai l .com
60
“ k nockout ”
plas ter 150 cm x 150 cm x 100 cm
+44 7850 [email protected] w w.sarahpager.com
United KingdomSarah Pager
61
‘ Unspecif ic objec ts ’
Ana Catarina PereiraPortugal
catar ina9090@gmai l .comw w w.anacatar inaperei ra .com
62
07716089822jess ica .p iddock@gmai l .comw w w.jesspiddock .com
Jess Piddock
63
I have an interes t in notions of display and in look ing for, and exper iencing ar t in the ever yday. A lot of my research invol ves photographic documentation of unsung creati v i t y ; that which is not intended as ar t but reveals famil iar ar t is t ic quali t ies . T his research for ms par t of my prac tice as well as feeding back into how I cons tr uc t my own ar t wor k . T he image in this c atalogue is f rom a ser ies of unintended sculptures found in junk shops and antiques centres . I aim to produce wor k that is acces sible for al l ar t fans .
Jo Race
joannerace@hotmai l .comw w w.jorace.co.uk
64
Phy sic al or intellec tual , a mater ial ’s provenance pos ses ses an unk nowable exoticism . A wish to dismantle or inter pret this is inev i table , i f not the explic i t aim: to even i t out to share by an al ter nati ve manifes tation; a leveling of the once -exalted as a for m of under s tanding ; the uncommon as the commons .
‘K ingmaker ’ 2012. (Composite digital web-sourced image).
An ongoing installation work and interpretation of a transformative aromatic vehicle, through formula, fabrication and application.
T he image is prov ided for i l lus trat ion pur poses alone .
07763177415tomrai l [email protected] w w.tomrai l ton .com
United KingdomTom Railton
65
C omic Ins tallat ion
T his wor k explores the condit ions in which we produce and addres s phy sic al and discur si ve space; and in par t ser ves to document the f undamental shif t I see in the values that under l ie these condit ions . T his is a shif t away f rom es sential is t and cor respondence -based epis temologies(in other words the search for a redempti ve tr uth) towards a mar ketplace of over lapping s y s tems that are temporall y, phy sic all y, and culturall y loc ated where they are usef ul .
miracalum@gmai l .comhttp://w w w.mike-r ivers .com
04407879238326
Michael Robinson
66
Seeing means associating . No image by itself makes complete sense, it is only when related with previous ones of the same concept , framed by words, that we associate it with and therefore construct an idea of the object obser ved. Or when we associate it with inmediate former images to tr y and f ind coherence. T he eye is skin: it translates light into shapes for us to keep our body alive, reconstructing inside our senses perception of the outside.
a le jandrosalcedob@gmai l .com
Alejandro SalcedoColombia
67
Lene ShepherdNorway
07759566569lenekss@hotmai l .com
w w w. leneshepherd .co.uk
68
“ I t ’s 10, 398 dollar s (3 4 6 4.9 9 miles) ”media- c-pr intsize - 59 4x8 41(mm)
Junghee ShinSouth Korea
shinjunghee710@gmai l .com+44 7427543124
69
J ar rod S im is a L ondon-based, S ingaporean ar t is t . His prac tice play s with ideas of romanticism within f ic t ion ,
his tor y and memor ies . S im is intr igued by romanticism’s abil i t y to adapt i ts charac ter is t ic s throughout his tor y
and i t ’s cur rent s ignif ic ance in our moder n day societ y. Wor k ing with a var iet y of mediums , he f inds himself
s traddling bet ween the mov ing image and sound. Recentl y, S im has been explor ing the meaning of
romanticism within popular culture , more specif ic all y, aspec ts of popular music . W ith an emphasis on song l y r ic s , he is look ing to cr i t ique and challenge how we
consume meaning f rom these l y r ic s , and comment on i ts almos t super f luous ex is tence in societ y. B eing a trained
musician , S im creates his own music that bor rows trending elements f rom popular music , and approaches
them in a way that would sonic all y and tex tuall y displace the entire music al exper ience .
I f interes ted in a copy of his album, please feel f ree to e -mail him .
Jarrod SimSingapore
Jarrodsim@gmai l .comJarrodsim.com
+44 07788437249
70
aramaramsim@googlemai l .com w w w.aramsim.com07429506527/ +82(0)1088170361
Aram SimSouth Korea
71
T he wor k is mainl y to paint objec ts that could be found in dail y l i ves to look ef fec ti vel y more s imilar as an each objec t and the mater ial is onl y oi l paints with some br ushes and tur pentine on a c anvas , i t sounds a painting but i t looks also a sculpture . T he sculptural painting is ver y close to the painting but i t is not far f rom the sculpture . T he wor k could be def ined as a three dimensional painting , and the l i fe -size painting could be on a boundar y bet ween reali t y and i l lusion . In the his tor y of ar t , mos t of paintings have been painted on a f lat sur face as a three dimensional space or por trai t even trompe -l ’oei is also painted on a t wo dimensional sur face . However, the l i fe s ize painting pretends as an objec t . Indeed, they c an make a shadow i tself. Even though they are painted, they are touchable and decei v ing eyes .
+44 7530202275 +82 1067130114
yuhwa.son@gmai l .com
Yu Hwa SonKorea
72
Nicky TeeganIreland
07712651443nicky jeanteegan@gmai l .comw w w.nicky teegan.com
73
Gir l with Rainbow Tr iangles (rooted), 201 2 , Oil , charcoal , and pencil on board, 15 x 10 x 0 . 5 cm
Yuma TomiyasuJapan
+44 7910751395 (UK)+81 9085671056 (Japan)
yuma-tomiyasu@hotmai l .co.jpw w w.yumatomiyasu.com
74
Using found imager y and obser vations f rom l i fe my wor k of fer s a v iew of the bod y through drawing , painting and sculpture .
Maarten van den BosThe Netherlands
0044 (0) 7738836943maar ten.vandenbos@gmai l .comw w w.maar tenvandenbos .n l
75
Lucy WhitfordEngland
luc y.whitford@gmail .comw w w. luc y whitford .com
76
alexander_whittaker@hotmai l .com07800 650 151
Alex WhittakerUnited Kingdom
77
‘S ilence’ has its own area. Even though there are var ious aspects of the silence, I focus on the inner inconvenient empathy. Inconvenient silence involves complex sense, including dif f icult to f igure out clear interpretation, but the silence indirectly appears the uncomfor table feeling . Fur thermore, the inconvenient silence could be an uncomfor table break time (but no one can actually have a BRE A K) in a conversation. T he work named of ‘CUBE’ is continued in spite of in the midst of stopped and stucked conversation. T he works represent the unbearable situation that people have to keep our mouth close ( to shut).
+44 7715 905407+82 10 6231 6003
ident i ty715@gmai l .comident i [email protected]
w w w.wonjaeyoun.com
Won, JaeyounKorean
78
A shley ’s drawings touch on ref lec tions of the nature of being and ex is t ing .
T here had been an exploration on l ightnes s and f ragil i t y, which eventuall y led to some ex is tential angs t and ref lec tions on the language and l imitat ions of drawing .
Recent wor ks explore the idea of s lownes s and wor k ing within a cons tr uc t of creating depth and cur iosi t y.
B or n in 19 90, A shley ’s wor ks spans f rom drawing , sculpture and paper cut . She has par t ic ipated in numerous exhibi t ions and is the receipient of the L as alle Award of A c ademic E xcellence(2011), W ins ton Oh Travel Award(2010) and N A C scholar ship (L oc al) in 2010.
yakka .ashley@gmai l .comw w w.yeoashley.net
Ashley YK YeoSingaporean
79
S oo was bor n in a small town c alled C heonan, where in her childhood memor y had vas t f ield and r ich fores t . A s she grew up she witnes sed new buildings and tube l ines claiming landsc ape which c aused rapid change of the env ironment . T his sur real exper ience later inf luenced her cur iosi t y and drew her at tention to var ious ur ban landsc apes in ci t ies and s tor ies behind of i t . H yesoo began her research on C ons tr uc ti v is t architec ture in Rus sia bet ween the 20 ’s and 5 0 ’s and bec ame ver y interes ted in this ambit ious ur ban landsc ape, ‘utopian dream’, that es tablished the bir th of C ommunism . She seeks the prac tic al impac t on ur ban env ironment by social movement , this is cr ucial in infor ming her wor k .
Each t i t le of her wor ks represents s tatus of her mind and fai th in God. She has become a C hr is t ian and accepted Jesus C hr is t as her s av iour in 200 9, which helped her to f ind hope and value in her l i fe with Jesus .
[email protected]://hyesooyou.b logspot .com
07891 869 657
Hyesoo YouKorea
80
I recreate Holl y wood sci-f i / fantas y f i lm s t i l ls through the eyes of a Chinese fan boy. M y wor k ing methods draw similar i t ies to ear l y 20 th centur y special ef fec ts produc tion . Put together, my wor ks addres s is sues of the male identi t y, nos talg ia , pirac y and the inf luence of popular culture today.
joelyuen83@gmai l .comjoelyuen.com
Joel YuenSingapore
81
My work is in response to the cultural diversity that I experienced in London. B y rereading fables , I am tr y ing to question the education and propaganda I received in China.
I was bor n in 1986 in a generation refer red to as the “C hinese pos t 80 ’s”; the f ir s t generation to be raised under the “one child polic y ” and tremendous social changes of “refor m and opening ” in the 1980s . At school , the educ ation we recei ved had been inf luenced by lef t is t ideologies inher i ted f rom the C ultural Revolution , meanwhile as the prevalence of the Inter net , scholar s introduced human r ights is sues and democrac y were exposed to us as well . S o per haps we all had a somewhat skeptic al spir i t deep in our hear ts .W hen I c ame to L ondon, this skeptic al spir i t was somehow ac ti vated and exag gerated. T he wor k was painted on t wo dif ferent layer s of g las s which s y mbolized t wo dif ferent ref lec tions of the wor ld in my mind.
07402801133mercyue@hotmai l .com
Xiaofei Yue
82
Saba.zavare i@gmai l .comw w w.sabazavarei .com
Saba Zavarei
83
Fantas y L andsc ape 200cm x 15 0cmoil on l inen
Xingyue ZhangChina
07513028845 x ing yuear t@gmai l .com
xing yuezhang.com
85
85MA GRAPHIC DESIGN COMMUNICATION
86
A ndré A r r uda is a Brazil ian graphic designer wor k ing with v ideo since 2000. Af ter 200 4 he began explor ing v ideo -projec tion on closed and controlled env ironments such as clubs , concer ts and events in general .
In his Mas ter ’s projec t , A ndré is interes ted in merging public l ighting , mov ing l ights , v ideo -projec tion with mo -tion sensing input dev ices in the ci t y env ironment .
BrazilAndré Arruda
87
Yue’s research focuses upon how people with d y slex ia s tore and retr ieve infor mation af ter encoding in their shor t- ter m memor y. T he idea in response is to create a f lex ible v isual s tr uc ture to contain the memor y that is eas y to s tore and rapid to retr ieve . People with d y slex ia al though have problems with shor t-ter m memor y, but they do have ver y good v isual senses . T he projec t idea wil l use v isual s tr uc tures and graphic think ing to sol ve this problem .
+44 7938564906lei [email protected]
http:// le i la-bi .tumblr.com/
ChinaYue Bi (Leila)
88
+33 665 65 0587emmanuel le .boulet@hotmai l . f r
FranceEmmanuelle Boulet
S elf-es teem of independent women :
W hat are the common s treng ths and weak nes ses of self-es teem for women who wish to be independent ?
89
ChinaZhenjie Cai
C it y Rhy thm and Mental Space:
People as main user s of the ci t y, become an impor tant par t of the space .T herefore , when talk ing about the development of the ci t y, people c annot be neglec ted, especiall y their mental space . A s Miles s tates , the c i t y is the ref lec tion and exper ience of al l the people within i t . T he ps ychologic al condit ions of ur ban people are based upon the impac ts f rom the ci t y. A s a result , the ci t y r hy thm and mental space needs at tention . S immel also asks , how c an the indi v idual adapt to the development of the ci t y within social s y s tems . From this , i would l ike to addres s how to respond to people’s anx iet y and tension f rom the ci t y space using the f ield of v is ion . A re there any ci t ies that g i ve us the feeling which convey s a non - sense of belonging? How does the relat ionship to the ci t y change when the v is ion does not include landmar ks?
+447715435095tobias .ca i .sh@gmai l .com
http://tobias-cai .b logspot .co.uk
90
+44 7414794520ckvdesign@gmai l .comhttp://w w w.behance.net/kaichen
ChinaKai Chen
T his wor k is about los t identi t y. How dif ferent points of v iew change our under s tanding . Keeping C ur iosi t y. A nal y sis of s ingle i tems by touch, s ight , tas te c an br ing new per spec ti ve and perceptions and under s tandings . C onsideration of bias and s tereot y pe within this .
91
w w w.cargocol lect ive .com/andreeadumuta
RomaniaAndreea Dumuta
I l ike to draw my inspirat ion f rom human behav ior and wor k in the area of social design . W hile using dif ferent techniques and media to communic ate my ideas , I am tr y ing to show how graphic design c an contr ibute towards improv ing our ever yday l i fe .
F or my f inal projec t , I chose to explore way s with which graphic design c an facil i tate sensor y exper imentation in a child ’s ins t i tut ionalized env ironment . M y outcomes aim to show how redesigning component for ms in this env ironment c an prov ide the children with meaning f ul les sons and also help them to adapt to this place bet ter. C r i t ic al to this design proces s is f inding way s to embed the dif ferent s tages of child development into the solutions .
92
+44 7535671369mel isadupre@gmai l .com
SpainMelisa Dupré
T hroughout the Mas ter s I have explored the role of the designer and the development of the creati ve proces s focusing on the f ields of Human B ehav iour and Interac ti ve Design . T he main concer n of my projec t is to an encourage empathetic at t i tude among people focusing on the dif ferences of r hy thm and speed that c i t izens exper ience in public spaces in the metropolis of L ondon .
93
Ur ban interac tion projec t for young people in Br ix ton to design and create bird boxes .
T he Bird B ox Projec t has been created in as sociat ion with Transit ion Town Br ix ton wor k ing alongside their goals towards a more env ironmentall y aware and sus tainable Br ix ton . Young people are inv i ted to at tend wor kshops to create their own bird boxes using rec ycled mater ials f rom their homes . Ever y child ’s creation is as unique as they are and c an be used not onl y to encourage an interes t in rec ycling and the natural wor ld around them, but also as a tool for shar ing and interac tion .
www.birdboxbuild.co.uk
+44 7 725 878 465talk@jennaedesign .co.ukw w w.jennaedesign .co.uk
Northern IrelandJenna Edgar
94
We li ve in an env ironment f ull of machines and s y s tems which contains a mas s of v is ible or inv is ible scientif ic language.
M y projec t is inspired by metrolog y and explores what data is and how to document i t f rom dif ferent per spec ti ves using var ious v isual methods .
javengao@gmai l .com
ChinaJingxian Gao
95
I am a graphic designer who loves things that move my emotions . I have alway s been interes ted in the complex i t y of the human mind. L i v ing in moder n societ y and being in cons tant interac tion with other s makes me cur ious , this is why I am explor ing ; how and why we ac t the way we do.
In my wor k I combine f iguration and abs trac tion . I l ike imper fec t i l lus trat ion , collage, wor k ing over many layer s . I ack nowledge this is the (a) way to show how dif ferent k ind of things , whether they are nice or not , create uniquenes s .
T hrough my nar rat i ves I tr y to descr ibe my exper iences of human interac tions and create a dialogue with people who share s imilar ques tions .
c lar igotel l i@hotmai l .comclar i in london.b logspot .com
ArgentinaClara Gotelli
96
I have always been fascinated by the universe of childhood; its immense energ y and limitless imagination. My project addresses the concept of consumerism for children, par ticular ly the relation between them and objects , in terms of forming and evolv ing the Ego. Objects have been seen as E x tended Selves, play ing an impor tant role in a child ’s life . Objects considered in this way are ‘ transactional ’ tr y ing to substitute the deprivation from the mother protection, also known as the security blanket . Freud stated that play is the royal road to the understanding of the infantile ego’s ef for ts and synthesis . My project consists of an interactive installation using illustration and graphic elements where children can play, create, destroy and master objects as a way of letting go of frustrations while pushing the limits of the pleasure pr inciple.
+44 7 933 994 049anamar ia .gr igor iu l@gmai l .combehance.net/anamar iagr igor iu
RomaniaAna-Maria Grigoriu
97
Sarah Halls is an illustrator and graphic designer currently living in London.
Sarah has been researching the abstract and illusive notion of identity. She is interested in the way identity is formed including the different personas we adopt. Part of this is a fascination with the way we identif y others and interact.
Sarah has been using illustration and for the moment, pattern making, as her main tool to explore her complex and abstract concept. Her work is forever changing and evolving, she loves to research and develop concepts and is interested in art direction and visual communication.
Sarah is predominantly a print based designer, but her diverse applied arts background allows her to draw on a broad range of skills and she enjoys the inter disciplinar y nature of creativity, engaging with ideas and developing outcomes.
+44 7805727142sarahhal ls82@hotmai l .com
hel lo-sarahh.tumblr.com
United KingdomSarah Halls
98
I believe ‘ Ever y thing is Graphic ’. I am always interes ted in the relationship between s tatic things in the real wor ld and man made produc ts in t wo-dimensional space. T herefore, to explore this v iewpoint my work aims to manipulate these elements within their or ig inal and real objec t in creative and new ways . To achieve that , I use graphic elements in 3-dimensional forms to expres s 2-dimensional languages . T hus , the term ‘graphic ’ is not only the l i teral meaning , but could be ever y where in our daily l i fe .
+44 7 [email protected] w w.yuntaohuang.com
ChinaYuntao Huang
99
At las t we c an’t preser ve some aspec ts of communit y in the wor ld , by building a v i v id ‘monument ’ to represent the indi v idual and collec t i ve memor y of people’s culture . I am focusing upon the communit y of C hinese fac tor y wor ker s . T he phy sic al par t of the fac tor y communit y has been transfor med into a collec t i ve memor y through dif ferent v isual s y mbols and language.
B ec ause the C hinese fac tor y communit y continues to be des troyed phy sic all y, we c an’t completel y protec t al l of i ts elements , however, we could per severe the intangible aspec ts of collec t i ve memor y through dif ferent design methods . In this wor k I use drawing to tel l you the s tor y of communit y member s ’ memor y and sug ges t a s y s tem for preser v ing collec t i ve memor y for the f uture .
+44 7413607784Trajan .j [email protected]:// j ia11345474.wordpress .com
ChinaChuan Jia (Trajan)
100
Dental plas ter is usuall y used as a way of cor rec ting defec ts and imper fec tion . We c an take this and consider i t more abs trac t way s . W hat happens if an objec t is bet ter def ined by what is lef t behind rather than what is within .
kather [email protected]
TaiwanHan-Yin Lee
101
His tor ical places ex is t as an ev idence of the t ime beyond i ts use and aes thetic s . T hese his tor ical places preser ve and over lap endles s layers of t ime therefore create a mix ture of t ime that has been there and t ime at present
T his is the value of the his tor ical buildings which dis tinguishes them from modern architec ture . People are of ten able to trace the t ime back through the signs of his tor ical buildings . In fac t , his tor ical buildings f inally achieve an ‘aura’ as an ar t work with aes thetic as well as exhibit ionis t values no mat ter what i ts or ig inal value, use and f unc tion. I t becomes impor tant to unders tand how the intangible , even spir i tual values and s tor ies of the his tor ical building and their preser ved layers and traces of t ime could be v isualised and the meaning they would have.
+44 7 557261002hanlune@hotmai l .comcargocol lect ive .com/hannalee
South-KoreaHanna Lee
102
W hat if dig i tal infor mation has the charac ter is t ic of phy sic al mater ial that wil l dec ay by t ime? How wil l i t change our way s of consuming dail y infor mation?
T he inspirat ion of this projec t is the tor n up pos ter on the s treet ; to consider i t not jus t as a broken image but as a f ragment of outdated infor mation .
+44 7821837724chenghao217@gmai l .com chenghaolee.com
TaiwanCheng-Hao Lee
103
T he projec t “ I l lusion and Reali t y ” represents how fashion photography af fec ts the behav iour of consumer s . Fashion photography speaks about both the reali t y and i l lusion of gar ments and of bodies , and in decons tr uc ting how these elements are organized and presented; a new language and s y s tem emerges f rom the photographic wor k . G ar ments as descr ibed by fashion photography has come to mean something more than jus t their f unc tion . Fashion photography expres ses the mes s age of the i l lusion image, value, s tatus , not the real gar ment . C onsumer s are at trac ted phy sic all y and emotionall y to these beautif ul pic tures to create their own reali t y wor ld .
+44 7435120115/ +886 938002312eddieukl in@gmai l .comhttp://eddieuk .wordpress .com
TaiwanYi Te Lin (Eddie)
104
Hai Y i L i was graduated f rom L oughborough Uni ver si t y on B S c Ergonomic s in 2011 and cur rentl y s tud y ing M A Graphic Design C ommunic ation in Chelsea C ollege of A r ts and Design , Uni ver si t y of the A r ts L ondon . She has been selec ted as a volunteer for 2008 B eij ing Ol y mpic G ames and as sis ted with G et in L ouder A r t exhibi t ion in B eij ing .
+44 7876533390 http :// laura l i417.wordpress .com/
ChinaHai Yi Li
105
J inny is an i l lus trator, graphic designer and excellent chef. She has a baby face which is a big haras sment in her l i fe . She l ikes drawing and tak ing photos , inves tigating mix media to expres s her self.
+44 07584047533j ing yalu . ld@gmai l .com
http://cargocol lect ive .com/j ing yalu
ChinaJingya Lu
106
dmar t ine@risd .edu
United States of America
Images have become a major component of public communic ation . A s our culture transit ions f rom pr int to screen, we c an see how much sensor y infor mation has become imbedded in the way we make and decode meaning . M y projec t is about explor ing poli t ic al images and their relat ionship to news headlines . T his branch of news has created i ts own genre of imager y and I am cur ious to explore how that af fec ts the way we read and under s tand poli t ic al s tor ies .
Daniel Orlando Martinez
107
China
“ Ever y objec t tel ls a s tor y, i f you k now how to read i t “ Henr y F ord . A s humans the communic ation bet ween people rel ies on the ex ter nal wor ld and therefore is alway s a point of cur iosi t y and change. We regular l y face l imitat ions in communic ations and as a consequence, i t is eas y to recei ve dif ferent ideas or misunder s tand the infor mation f rom other s . To get a bet ter under s tanding of how people communic ate is my pur pose of this projec t . I am interes ted in how humans communic ate as societ y evol ves . How c an the exploration of l imits within people’s abil i t y to expres s and recei ve infor mation become the basis for language development .
shawnloong.com
Xiaojun Ouyang
108
Subculture can look like an organic form of cultural hybridity, and can reflect more of regional and historical information. This can provide critical viewpoints for the graphic designer today. I have taken garment ‘patches’ as a medium for representing the visual style of subculture groups. Each patch shown in this work represents a fictional subcultural group originated by the interflowing of different regional cultures.
+44 7866304813shower@gmai l .comcargocol lect ive .com/chenyupan
TaiwanChen Yu Pan
109
Title: How the Jasmine blossoms
Shaping political awareness on the Arab Spring through the interpretation of a Tunisian blog.
Beyond an idealistic perspective, how do I understand the Tunisian’s search for democracy via new uses of the Internet and by interacting with the blog of a young Tunisian woman, Lina Ben Mhenni.
+44 7530157818lorra inepastre@gmai l .com
w w w. lorra inepastre .com
FranceLorraine Pastré
110
0035796589865 gothasas6@hotmai l .com aporcela inhear t .wordpress .com / v imeo.com/despoinaprokopiou
Cypriot
Ar t of noises
Our listening is limited to what we want to hear. Most of ten we ignore hearing the outside world’s nature of music. Maybe our ears adjust to the technicality of a sound, to a cer tain melody that pleases our ears. If sound pleases our ears, noise can too with exercise and deep listening. How then can we learn to appreciate all sounds? My journey of Graphic Design and Communications began by introducing personal processes such as craf t based manual tools that map sound. The journey then grew to introducing silence as an unstable pattern, where sounds are ver y minimal and can directly break a pattern. These ideas were explored by using animation shor ts as a better communication for audiences.
Despo
111
Samia Rajar
samiarajar@hotmai l .comsamiarajar.tumblr.com
“ Ever y road c an s y mbolize the road of l i fe and any walk a pilgr image” Mircea E liade
T he spir i tual l i fe and wor ldl y ex is tence are percei ved as t wo separate s tates of being which usuall y do not coalesce . T his projec t realis at ion creates space for ques tioning the f unc tion of a s acred threshold in widening or br idging the gap bet ween wor ldl y and spir i tual realms . T he design proces s makes use of sound and space as pr imar y techniques for inves tigating the inter play bet ween s acred and profane . A ser ies of maps t i t led, “01 Mile P ilgr image” prov ides documentation of a per sonal jour ney under taken as an ac t of contemplation .
112
C ong S ang is a graphic designer who is explor ing if contemporar y design methodologies c an rev i ve tradit ional Chinese ink painting in order to f i l l the gap bet ween Chinese tradit ional v isual language and the contemporar y ar t /design prac tices . Her projec t exper iments with equi valent ideas and techniques of chinese ink painting in dig i tal for ms . In her f inal wor k , she wil l use these techniques to tr y to represent a specif ic cr i t ic al env ironmental is sue which recentl y happened in China , in order to br ing relevant connec tions bet ween for m and cultural content .
07588705350sangsang105@hotmai l .comhttp://congsangblog.wordpress .com/
ChinaCong Sang
113
At i ts highes t level , my research is about intercultural communic ation that c an be achieved through design , in response to the growing exper ience of displacing the meaning of famil iar objec ts by the changing cultural contex ts . B ased on the J apanese social concepts of uchi ( inside) and soto (outside) which denotes a deeper meaning of ‘self ’ and ‘societ y ’, whereby the lat ter is alway s paramount , the projec t anal y ses i ts af fec t on designs agains t moder n design theor y. T his is explored in the unique for ms of J apanese packaging and tradit ional architec ture and the parallel bet ween these prac tices in the use of layer s as a for m of cultural communic ation to wrap objec ts , space and societ y.
+44 7518514431gael le .sapaly@gmai l .comhttp://gael le-sapaly.com
FranceGaelle Sapaly
114
Rachel Sham believes that ever y thing happens in l i fe is al l about a jour ney not des tination . We are aware of that i f we travel on the Underground ever y day at diz z y ing speeds , we are increasingl y unaware of what is happening above the ground bet ween t wo s tat ions . W here exac tl y have we been - which spaces? Rachel ut i l izes her own foots tep(56cm) as a measurement of the sc ale of map. B y using walk ing as a medium, she inv i tes the v iewer s to see a dif ferent landsc ape which sur rounds them . I t inspires a per sonal reading of movements and explorations of the env ironment . T hese aim to increase the awarenes s to the sur roundings and encourage people appreciate ever y t iny l i t t le thing around us .
+44 7768992226 racsham@gmai l .comhttp://racsham.blogspot .co.uk/
Hong KongRachel Sham
115
T hrough the development of technolog y, human bodies are graduall y replaced in some par ts of our dail y l i fe . A s a graphic design s tudent , I s tar ted to focus on the role of the bod y in the proces s of reading . W ith the exception of tur ning the page, c l ick ing the mouse, how c an the reader ’s bod y ex is t in the reading proces s? W hat are the other options? T his research aims to explore way s of inv i t ing the reader ’s bod y to join the reading proces s , and to develop new and dif ferent reading exper iences .
number 07426815292ala in2827@gmai l .com
http://cargocol lect ive .com/YiJuTsai
TaiwanYi Ju Tsai
116
Nar rati ve , Space & T ime are the main dr i ver s for my prac tice . In my wor k I aim to def ine the relat ionship bet ween pr i vate & public spaces and their interac tion with each other. T he key is sues raised concer n the breach of boundar ies bet ween these spaces , their blending together and the repercus sions of such ac tions . T he idea of pr i vate & public spaces becoming one – a ‘ transparent ’ space – g i ves room for many exper imentations , within which the nar rat i ve s tr uc ture ac ts as the g lue, keeping all the elements together.
+44 7762685108urumovasoph@gmai l .comursofspot .co.cc
BulgariaSofiya Urumova
117
In the wave of a net wor ked societ y and the high technologic al transfor mations of the pas t dec ade, social communic ations and human behav iour are being challenged to adapt to new models of mult idimensional interac ti v i t y.
T he way we percei ve our env ironments and the way we make our decis ions are now ver y dif ferent , s trongl y shaped by s y s tems of new media and par t ic ipation with online social net wor ks . A s humans , our per sonali t ies and emotions are cons tantl y s tr ug gling bet ween new social at tr ibutes and more natural proper t ies . New media is changing ever y par t of cognit ion and human interac tions . T hese ef fec ts are long las t ing and are now redef ining our per sonali t ies and identi t ies .
+44 07742157301 i r is y. f.wang@gmai l .com
http://w w w.behance.net/ i r is y
ChinaXi Wang
118
My work is about packaging. I t cer tainly seems that packaging design makes an appearance in ever y aspect of our modern daily lives . From the products we can purchase from supermarket to representing ourselves, we need “packaging design” to protect products and glor if y their values . But we must also consider the environment. How can packaging design waste less , without dr iv ing all design solutions into a ver y minimal form of aesthetic and form?
+07427429429iammiss v iv ian@hotmai l .comw w w. iammiss v iv ian .wix .com/wan11326134
ChinaXiaofei Wang
119
T he aim of my projec t is to help people under s tand how simplic i t y and minimalism in design c an highlight our exper ience of the natural wor ld around us .
T he shape without decoration (Naked-shape) has a s trong resonance that relates with white and emptines s . W hite paper as a for m, c an be a response to the emptines s and c an s t imulate human creati v i t y and communic ation through the notion of absence . I have tr ied to explore the dif ferent pos sibil i t ies of white in paper as a for m and at tempt to convey the changing perceptions and relat ionships bet ween white and paper.
07427 440810el lek id2003@gmai l .com
http://v iv idwu.wordpress .com
ChinaYingping Wu
120
W hat does t ime look l ike? S ome may ans wer that t ime is the number s shown on a wr is t watch . But per haps i t isn’t jus t this . I t is something s trongl y connec ted to emotions and exper ience; something we c annot see; something we want to c atch but we are unable to . S o, what is t ime? How c an we descr ibe this beyond scientif ic ter ms? In Cheng-Han Wu’s recent projec t , he ques tions the conventional way s people under s tand t ime and aims to v isualize more per sonal perceptions of t ime especiall y when at the moment when we are under pres sures of t ime.
+44 7428202723usagi004@gmai l .comchenghanwu.com
TaiwanCheng-Han Wu
121
Britain was once a colonial empire of the past, China was an old feudal ancient civilization. Now one is a Western countr y, highly civilized and democratic; the other is the biggest Eastern countr y with rapid economic development and a communist dictatorship. Both countries have changing similarities and dif ferences and now need to have a better perception each other.
As a Chinese student studying visual communication in London, I am ver y interested in the cultural dif ferences between these two countries and how cultural identity can be signif ied. In my project, I use dif ferent cultural visual elements to describe how people can communicate their own identity in relation to histor y and culture.
Based on the Western theories of ‘Orientalism’ I extracted and arranged dif ferent aspects of restaurant /shop architecture and signs from Chinatown, and combined these with dif ferent drawing techniques and collage forms as a way to talk about the changing identity of modern China.
+44(0) 7414815158evazhang1217@gmai l .com
http://y ingzhang1217.b logspot .co.uk/
ChinaYing Zhang
122
T it le : the pos sibil i t ies of t ime
A wor k talk ing about the connec tion bet ween t ime and the mater ial i t y of objec ts .
+447741787500zhangzhanmumuhug@gmai l .comw w w.zhangzhan.org
ChinaZhan Zhang
123
T it le : the beaut y of lonelines s
A projec t wor k which tr ies to discover which par ts of objec ts are eas y to ignore . E xplor ing the relat ionship bet ween soli tude and beaut y.
+447427449734tiant ian198963@hotmai l .com
ChinaYi Zou
125MA INTERIOR SPATIAL DESIGN
126
My interest in the relationship between sound and space has led me to research into the notion of ‘seeing sound and hearing space’. I chose the upright piano as my architectural site. In my research, I will explore the interrelationship between music and inter ior architectural design by using sound and space as mediums, developing ‘ the duet of sound and space’. B y this I mean, spaces as tools to sculpt sounds when the ref lection, refraction and absorption of sounds take place, allowing us to hear the spaces, creating acoustic terr itor ies , and thus seeing sound.
Thailand
+44 7917747853aur.s i r [email protected] ://s i r intramaisd .b logspot .co.uk
Sirintra Aursirisub (Kat)
127
A mazingl y, the ancient L ondon Wall is s t i l l sur v i v ing in the middle of moder n ci t y even though i t ex is ts as an isolated and onl y a ser ies of f ragmented wall . W hen you v is i t C ooper ’s Row s treet , you wil l realize that f ragmenting r uined wall which is enclosed by sur rounding buildings has been found inad ver tentl y. T he wall was buil t by the Roman and s tretched for 2 miles .
T his projec t focuses on how to open up a new relat ionship bet ween the underes timated wall and i ts neighbor ing area to recover and v i tal ize i ts value . In order to do that , I have approached with the notion of ‘crack ’ as a ambit ious s trateg y in ter ms of ‘pr is ing open’ which allowed to make inv is ible wall s l ightl y more v is ible . Fur ther more, I proposed the design manual to the place where is related to the L ondon Wall trai l . T he sc at tered wall could be connec ted together within common design theme and succes sf ul scheme.
South Korea
+44 7427349870heymi .an1@gmai l .com
Heymi An
128
C an architec ture be concei ved as a per for mati ve space? Is each space based on a nar rat i ve’s s tor y?
T he concept of my projec t is T heatr ic ali t y. T he idea of being able to pas s emotions through a theatr ic al space and people’s reac tions .
W ith reference to Palimpes t Public House exper iment in the B ar bic an, I obser ved how a space c an be per for mati ve and exper ienced dif ferentl y, when seen in dif ferent bod y posit ions . T hrough the s tud y of bod y posit ions and the emotions i t br ings , I want to create small inter ventions that wil l g i ve dif ferent emotional feelings .
T he inter ventions I designed are inf luenced by A lice in Wonder land, a s tor y based on emotions .
W hat I am seeking to design is a continuous f low of inter ventions which br ing a sense of theatr icali t y to the person exper iencing them, a new meaning to per formance; one where the v isi tor is tak ing an ac tive par t (not an ac tor) and an inter vention /per formance where a pas serby per forms (by speaking) or exper ience (by l is tening) .
+44 7716188649ir in iar temi@hotmai l .com
Irene ArtemiUnited Kingdom/Cypriot
129
I tohan holds an undergraduate degree in A rchitec ture . She is interes ted in the infor mal economy in Niger ia and the design prov is ions and architec tural incenti ves being used to c ater for roadside trader s . Her M A projec t is focused on the design of f ur niture and umbrella points for trader s who sell their goods under neath umbrellas on the roadsides in L agos . T he projec t is based on creating mult i-pur pose self-as sembled f ur niture which is eas y to transpor t and set up.
Nigeria
+44 7545448292itohan.bar low@gmai l .com
lagosumbrel lac i ty.b logspot .com
Itohan Barlow
130
M y wor k takes the for m of a ser ies of s tudies in which I adjus t , res tore and document dif ferent spaces within the college .
T his wor k is recorded using tex t , f i lm and photography. T hese documents for m the basis of an ongoing archi val projec t that includes the collec t ion and ar rangement of objec ts found within the space . T he archi ve is then presented in a speciall y cons tr uc ted display c ases .
T hrough this proces s of al ter ing , recording , mapping and display I aim to explore the over laps and tensions bet ween curation , documentation and exhibi t ion design .
+44 7595260929laurajaneblenkinsop@gmai l .comw w w. laurajaneblenkinsop.com
Laura Jane BlenkinsopUnited Kingdom
131
For a place to exist , it must be retained by edges. When this edge is shared by two places, it becomes an in-between space. My research is focused on that area that separates/connects two distinct realms. What is the impor tance of that transitional space? And how does it inf luence the onlooker ’s perception of the perceived space?
The device shown in the picture explores that in-between space, and expands it . It juxtaposes several par ts of one space in a controlled manner. The dif ferent possible combinations respectively create a series of new spaces within the device. This combination of spaces then creates several options of narratives for the existing surrounding.
Correspondingly, my practice consists of analyzing an existing in-between space, a long and narrow alley which cuts through a block of buildings to connect two streets, St . John’s Lane and St. John Street. The aim is emphasize the connective quality on that space, amplif ying the experience of the person passing through.
+44 7769517180sir ine.chaker@gmai l .com
Sirine Chaker
132
T he projec t is based on the relat ionship bet ween plants , books , and space . T he or ig inal concepts are f rom t wo books , “ Too L oud A S oli tude” and “ Ten B ooks on A rchitec ture .” T he pur pose of this s tud y is tr y ing to reveal dif ferent connec tions bet ween these three elements in order to create a ser ies of development wor k . T he f inal exper imental wor k uses graf ts to combine dif ferent species of plants in order to design a natural s tr uc ture within the Chelsea Phy sic G arden .
+44 864618366patr ickwei69@gmai l .com
Yi-Wei ChenTaiwan
133
T he pr imar y school is the f ir s t wor k ing env ironment children wil l ever exper ience and is the place where they create their f ir s t school l i fe memor ies . T herefore I decided to s tud y in depth the ‘C hildren’s L ear ning Env ironment ’ on my mis sion to design the per fec t space for children .
T he prac tic al par t of my projec t is the redesign of an ex is t ing public l ibrar y building , transfor ming i t into a pr imar y school with a children’s l ibrar y. W hat is reall y impor tant for me is to keep a connec tion bet ween the building ’s old and new use, and to create a unique env ironment which wil l be remembered by al l ; s tudents , teacher s and v is i tor s . I t is also impor tant that children wil l interac t with the space and gain the ex tra sk i l ls that wil l speed up their development . C hildren are usuall y f ull of cur iosi t y and they love to exper iment with their sur roundings ; i f the design suppor ts these ac tions , the children’s f ir s t memor ies wil l be posit i ve and enjoyable .
Greece
+44 7742171116douzenimi lena@gmai l .com
Douzeni Eleni Dimitra
134
M y wor k this year has explored the parameter s of public and pr i vate space - of ten using mir ror s as a for m of ref lec ti ve sur veil lance . Wor k ing within the f ield of inter ior design and coming f rom a f ine ar ts back ground has g i ven me an al ter nati ve approach to design and what i t means to be a designer. I s tr i ve to create both usef ul and thought provok ing objec ts .
+44 7946431789 jennifermayevans@gmai l .comw w w.maisdjenniferevans .b logspot .com
Jennifer May EvansUnited Kingdom
135
M y projec t is about the “ beaut y ” of projec tion which is based on movement and v isual perception . Using l ighting projec tion to dis tor t the perception of both the architec ture sur face and inter ior space, in other words is to create v isual i l lusion in space . T his l ighting projec tion is not onl y a l ight source and also an image of a per spec ti ve drawing of an inter ior space . Projec ting the per spec ti ve projec tion onto sur roundings ’ sur faces in a motion way, this c an consider as “painting with l ight ” on the sur roundings ’ sk ins .
I am interes ting in the relat ionship bet ween the indi v idual , the v iewer, and the sur roundings in inter ior and spatial design . I have create a space ins tallat ion which is intended to g i ve ev idence of proces ses of v iewer s c an exper iment their own perception dur ing they walk ing in my space .
Lianzhong FuChina
+44 7740873937for fudesign@gmai l .com / info@ful ianzhong.com
w w w.ful ianzhong.com
136
OIL S C A P E S . T he research begun with the inves tigation of the relat ionship space / landsc ape and brought me to the idea that ac tuall y they are both the s ame thing , they are both oilsc apes .
Oil becomes both the idea and the interes ting v isual component . A s a resource, al lowing progres s and produc ti v i t y, i t has indirec tl y shaped the landsc ape as well as our idea of space, being f undamental component of proces ses and mater ials . A s a phy sic al mat ter i t shapes images of space, incor porating , mir ror ing and even dis tor t ing i t . In both c ases what i t does is af fec ting our imaginar y of landsc ape and space l ikewise .
T herefore , inves tigating v iscosit y, ref lec ti v i t y and dar k nes s within the research I aim to create unc anny images of imaginar y landsc apes with model mak ing and /or photography. I tr y to create a sense of sublime jus t using mir rored, expanded, dis tor ted space . Images where f latnes s becomes deep and space becomes landsc ape.
“ Have you ever realized that what you look at is ac tuall y oi lsc apes? ”
+39 3482609031gandolfo.cr ist ina@gmai l .com
Cristina GandolfoItaly
137
T he B eir ut c i t y centre is a his tor ic building that is threatened with demoli t ion . I t is loc ated in the hear t of downtown B eir ut ; i t has a valuable his tor y and l i ves in the memor y of the pas t generations as being a l i vel y c inema complex . Wor k ing on i t suppor ts my idea of br idging the generations ’ focus on cinema . T he main feature of the s i te is an eg g shaped s tr uc ture made of concrete ; i t res ts on a par k ing area of 6 basements which were par t ial l y demolished dur ing the recent war in L ebanon . T he design focuses on using temporar y s tr uc tures to graduall y create a f i lm based landmar k for f uture generations of talented L ebanese f i lmmaker s . C ontainer s , s tretched screens , sc af folding s tairc ases , projec tion equipment , c irculat ion volumes , a rev i val of the L ebanese old souk ; al l are progres si vel y cons tr uc ted as an evolutionar y proces s to create the f inal outcome which is a c inema centre . T he gradual proces s of cons tr uc tion wil l al low B eir ut f i lmmaker s and audiences to become invol ved in the new centre as user s and producer s .
Roland Joseph HelouCanada/Lebanon
+44 7857590320 ro landhelou@gmai l .com
138
“Ever yday life is what we are given ever y day, what presses us , even oppresses us .”… “Ever y morning, what we take up again, on awakening, is the weight of l ife, the dif f iculty of l iving in a cer tain condition, with a par ticular weakness or desire . Ever yday life is what holds us immediately, from the inside.”… “ We should not forget this “memor y world ”… “ We have our hear ts set in such a world of old factor y memor y, memor y of childhood places , of childhood gestures , of pleasures .” (Michael de Cer teau 1998, The Practice of Ever yday Life)
M y projec t deals with per sonal exper iences , in response to the ever yday l i fe conf l ic t in C olombia . T he f inal ins tallat ion is focusing in a par t icular event commonl y c alled, T he Miraculous F ishing , aiming to ref lec t how v iolence bec ame par t of our quotidianit y and how these events have been forgot ten , as they are becoming par t of our ordinar ines s and way of l i fe .
+44 7530691004natal ia [email protected] w w.natal iaherediaMAISD.blogspot .co.uk
Natalia Heredia RodriguezColombia
139
T his Projec t is a temporar y theatre base on the novel “ T he Tr ial ” by Franz K af ka and is set up on a cons tr uc tion s i te with a temporar y s i tuation .
T he idea of “ac ti ve audience”allows the audiences to take the ini t iat i ve to read the per for mance. In my projec t the audiences not onl y have the ini t iat i ve to take their own v iew of the per for mance but they also are of fered the ini t iat i ve of controll ing t ime through the route and pace they choose to take in this theatre
I see s tage per formance is an event rather than the tell ing a s tor y. In this projec t I explore the exper ience of audiences and tr y to set up a new tension in the relationship bet ween the audiences , the ac tor and the s tage.
Mamo (Juelin He)China
+44 7411265092mamo.sai@hotmai l .com
140
Spatial movement prov ides us with the c apacit y to re -feel s tr uc tural t ime and dimension . W hen you take a s tep for ward, your per spec ti ve is changed bet ween the t wo posit ions and t ime; recons ti tut ion for a new posit ion occupies perception . In other words , when you walk s traight in the cor r idor, you percei ve dif ferent feeling by updated per spec ti ve , which c an be seen dur ing mov ing bet ween t wo posit ions and is quite dis t inc t f rom s tatic per spec ti ve . T hroughout research , the ques tion has ar isen as how we exper ience this space where we feel unc anny. M y wor k explores the relat ionship bet ween spatial i t y and movement , which g i ve us a sense of fear.
Miwa IzawaJapan
141
S treet food is an es sential par t of T hai l i fes t y le . You c an f ind a huge var iet y of food on the s treet , of ten with a f ull set of ingredients and bizar re cook ing dev ices . T hese inventi ve machines have become par t of the env ironment and unnoticeabl y transfor m an ordinar y food s tall into a per for mance s tage .
S treet food vendor s are ex traordinar y public ar t is ts . Not onl y do they make k inetic and v ibrant the aes thetic s of a place, they also blur the boundar y of public -pr i vate space by br inging the int imate space of the k i tchen to the s treet and interes tingl y es tablishing immediate phy sic al contac t bet ween food and the consumer (as the audience), through the exposed proces s of s treet food cook ing . C an the food bought f rom the vendor s tas te more delic ious if we c an tas te a bi t of i ts nar rat ion?
Napat JesadapatrakulThailand
+44 7792304293no_on72@hotmai l .com
142
I graduated B A in Inter ior A rchitec ture . S o, bec ause of my back ground, I am interes ted in combining architec tural prac tice together with the F ine A r t and Design prac tice to develop architec tural sculpture , where l ight is considered as mater ial and for m .
In my study, the ‘Solid L ight ’ refers to the natural light . When consider ing natural light as a mater ial , i t is then considered par t of the architectural structure. I want to research how natural light af fects our perception of space over time. At dif ferent times of a day during seasons, the natural light creates dif ferent atmospheres in the space. A s we move through the space and as the light constantly alters , so our understanding and perception of space is in f lux .
+44 7881965365Jiamo841109@hotmai l .com
Mo JiaChina
143
I t is paradoxic al that a man’s quietes t moments reveal the mos t to him, and bes tow the bes t upon him- Paul Br unton
M y wor k focuses on a space with meditat i ve quali t ies in relat ion with user ’s spir i tual and poetic exper iences rather than phy sic al and f unc tional ones . F or this , the space l ies on composite s tr uc ture bet ween t wo is sues : r i tuals as meditat i ve at t i tudes der i ved f rom meditat ion and cleansing , and spatial quali t ies as a dev ice to arouse the at t i tudes . T he space is in my mind l ike a quiet oasis g i v ing a break f rom the pres sures of moder n l i fe . T hough i t is a c alm haven away f rom routine, i t is for coming back to l i fe . I t is s at isf ied with a sense of serenit y and well-being . I t al lows i ts sojour ner s to muse and ref lec t .
Minkyung Kang
+44 7940414910traju i [email protected]
144
T his projec t at tempts to anal y se the relat ions bet ween the occupation and appropr iat ion of ur ban public spaces and the notions of ephemeral and mobile , within the contex t of unof f ic ial prac tices tak ing place in the ur ban env ironment . More specif ic all y, the projec t is concentrated on the black mar ket , par t icular l y on i l legal s treet vending ; a subjec t which is c losel y related to the fac t that the black economy in Greece is ‘ blooming ’, in contras t with the fac t that the countr y ’s economy is on the verge of collapse . T he aim of the projec t is to research spatial s y s tems and wearable for ms that c an encourage an al ter nati ve approach to proces ses of trade through speculat i ve and proposit ional wearable design solutions .
+44 7531562749+30 6942268258olga_ktena@hotmai l .com
Olga KtenaGreece
145
Hav ing l i ved in thir teen homes in nine ci t ies around the wor ld , my projec t arose f rom my at tempt to come to ter ms with my newes t home in L ondon . I inves tigate ideas of home, and the contras ts and contradic t ions that ar ise . I compare my dif ferent exper iences of home and consider the phy sic al elements of the houses I have l i ved in , in ter ms of s ize , mater ial , neighbour hood and the tension bet ween inter ior and ex ter ior.
In this t ime when travel and mobil i t y is an integral par t of l i fe for many people , I want to k now what i t means to feel ‘at home’ and have a sense of place .
y izhen. l t@gmai l .comw w w.y izhenmaisd .b logspot .com
New ZealandYi-Zhen Lai-Tremewan
146
‘ To l i ve is to leave traces . ’ –Walter B enjamin
I am deepl y interes ted in leav ing traces . A s B enjamin s aid , we have lef t numerous traces behind on ever yday objec ts and in spaces in our wake. In other words, ever yday objects and space c an c apture al l our traces which ev idence our identity, habit, experience, emotion and behaviour. However, traces are los t in his tor y or in the moment . I t has become dif f icult to keep traces in this societ y. In B enjamin’s words , i t seems to be dif f icult to l i ve as well .
In terms of spatiality, this subject, ‘ Trace’, has great potential for design. In addition, the traces are an impor tant medium in the relationship bet ween space and people . T herefore, I aim to uncover and reveal the value in the traces we leave behind, rather than seeing them as a s ign that something is wor n out or no longer is new or usef ul . I want to g i ve a new meaning to the trace within ar t and design .
+44 78 4186 6807nar ykh. lee@gmai l .comhttp://nar y lee.b logspot .co.uk/
Seoul, Korea/ KoreanKeun Hye Lee
147
This MA project is driven by the current socio-political turmoil in Athens, investigating the design of an interactive public ins tallat ion on the space of S y ntagma square , in f ront of the Hous e of the Hellenic P ar l iament . T he ‘ 7 publicphantoms ’ projec t , is an under g round ne t wor k of 7 elevating pedestals, as the new age public speaking machines, which are controlled by an online social p l a t f o r m . T h e 7 ‘ r o b u s t ’ p h a n t o m s a t t e m p t t o c h a l l e n g e t h e o p t i c a l p o w e r o f t h e P a r l i a m e n t ’s b u i l d i n g , a s w e l l a s t o r e a d d r e s s t h e c o n c e p t o f p u b l i c s p e e c h i n t h e d i g i t a l e r a o f n e t w o r k e d c o m m u n i c a t i o n .
l iagk istamat ina@windowsl ive .comhttp://publ icphantoms.blogspot .co.uk/
GreeceStamatina Liagki
148
T he t imeles s , temporar y and changeable nature of ref lec tions has alway s interes ted me. T he ref lec ti ve sur face is transparent and inv is ible by i tself. Ref lec tions in mir r or, g la s s or w a ter a c t a s a d i s g ui s e : r e f le c t in g , c h an g in g and continuing the sur rounding space . T he f lat ter and smoother a sur face is , the more dis t inc tl y ray s of incidental l ight are ref lec ted f rom i t .
Ref lec tions become a connec tion bet ween inside and outside space, br inging outside space into the inter ior env ironment and ex tending outside space . T hey al low us to see what usuall y c annot be seen, g i v ing us the oppor tunit y to have a exper iences in ever yday spaces .
+44 78 7964 7535l imnl [email protected]
Men Sun Lim
149
I bec ame interes ted in the interac tion bet ween people af ter mak ing a space based on the communic ation bet ween the fetus and the mother s ince the t ime when I was a B A s tudent in KOR E A , and so I spatial l y made wor ks with the use of c as tof f s as mater ials researching on the communic ation bet ween the ar t is t and the v iewer. W hen I was B A s tudent in L ONDON, I had s tudied the use of empt y space ( T he ac ti vat ion of dis tr ic t by selec ting an empt y building near Goodge S treet in L ondon and the propos al on Korean company S amsung ’s entrance into the European mar ket) . T herefore , this projec t conduc ted researches with the focus on the pur pose of the uti l izat ion of ex is t ing vac ant space, and the ac ti vat ion of interac tions bet ween people and building based on the exper imental s tudies .
+82 1064884862inter ior01@gmai l .com
KoreaJoonhwan Lim_JIMI
150
T he following tex t are ex trac ted f rom an inter v iew to Shao F eng on 20 th F ebr uar y, 201 2 :
S am: Ques tion number four, c an you tell me a s tor y about you and a piece of f ur niture?
Shao F eng : Okay, hmmm . . .do you k now when you’re using a sofa at home, and sometimes you’re losing some s tuf f in the gaps , so when I was l ike . . .
Sam [interrupted]: It ’s so disgusting when you clean the gap!
Shao F eng : Nooo! this wasn’t disgus ting .
S am: You found a diamond r ing?
Shao F eng : I found money, a C OIN!! ! I t was my second year of pr imar y school , I was reall y young , and the f ir s t t ime I found a coin in the gap of the sofa , I was so excited!! I spent the whole af ter noon tr y ing to f ind more!
S am: May be I should make a chair with mult iple gaps to hide coins!
+44 0798 3723 858sam125@gmai l .comw w w. lomingshum.com
Sam LO mingshum
151
T he idea of wait ing
M y interes t in ‘ wait ing ’, especiall y in hospitals , has led me to research ideas of wait ing in dif ferent circums tances and sur roundings .
I have chosen a t y pic al Ger man hospital ( ‘Johanniter-Krankenhaus Geesthacht’ near Hamburg) as my architectural s i te . I t is loc ated in a fores ted landsc ape on a hil ls ide .
In my research , I w il l inves tigate the dialogue bet ween the inter ior and ex ter ior. W hat I mean by this is a blur r ing of the l ines bet ween the inside and the outside by using nature not as a separated element , but rather as a par t of the building i tself. I w il l focus on Ger man fores ts and the meaning of the fores ts in loc al his tor y, using heraldr y, poetr y and l i terature to create a unique and s y mbolic design , which wil l ul t imatel y prov ide a comfor table atmosphere for patients and v is i tor s in a wait ing area .
+49 151-22 763 110ohm. isabel le@googlemai l .com
GermanyIsabelle Ohm
152
M y prac tice s tar ted by look ing into paradoxic al and anachronis t ic spaces . B eginning with water tower s , my projec t moved to a ser ies of abandoned jet t ies on the Greenwich peninsular, and uses them to create a new t y polog y of water tower s . T hese spaces are meant to br ing the at tention to the r i ver T hames . T hey addres s the ecologic al is sues by f i l ter ing and monitor ing the water. A ddit ionall y, they g i ve a voice to the r i ver by creating s i tuations when the v is i tor engages with the r i ver f rom a new per spec ti ve . T he nature of this exper ience encourages evaluation , and inv i tes discus sion . T he water tower s are cut away f rom t ime and reali t y. W hen inside, the per spec ti ve is al tered and the senses are f ree to jus t exper ience the space, and the r i ver through i t . T his encourages evaluation and discus sion .
+44 7531 607 559antoanapetkova@gmai l .comhttp://antoana.wix .com/portfolio” http://antoana.wix .com/portfolio
BulgariaAntoana Petkova
153
M y r e s e a r c h i s r e l a t e d t o o b j e c t s , h o w h u m a n s a c t i n r e l a t i o n t o t h e m , a n d h o w h u m a n e m o t i o n s a r e p r o v o k e d b y t h e m .
M y recent exper iments relate to this idea by showing how the t wo emotions of fear and play f ulnes s c an be provoked by an objec t . I n t h e s e e x p e r i m e n t s I t r y t o s h o w h o w i m a g i n a t i o n c a n b e d i r e c t l y r e l a t e d t o p l a y f u l o b j e c t s s u c h a s t o y s , a n d t h e w a y s t h a t t o y s a r e p e r c e i v e d b y p e o p l e . Toy s usuall y have an aim, something that needs to be considered when creating exper iments that al low succes sf ul and unsucces sf ul ac t ions as par t of an at tempt to f ind the ‘r ight way ’ of get t ing the cor rec t result .
+44 7595937033vphi l ippou@hotmai l .com
CyprusVicky Philippou
154
T his projec t is focused on space and nar rat ion . I believe that ever y space contains nar rat i ve through the for m, mater ial , t ime and the jour ney within i t . ‘ Nar rat i ve s tr uc tures have the s tatus of spatial s y ntaxes . ’ (De C ar teau,198 4). M y inves tigation is how to create the space and the spatial sequence according to the contained objec t in a museum contex t . A s a result , my decis ions about the spatial designs are infor med by the nar rat i ve of the objec t . T he space and the objec t should alway s be l inked bec ause both of them play the role of tel l ing the s tor y to the v is i tor s . W hat I am at tempting to achieve in this projec t is the composit ion design of a complex spatial sequence which is infor med by the nar rat i ves of f i ve objec ts c aref ull y chosen f rom the Wellcome C ollec tion .
Image: S t Jerome in his S tud y by A ntonello Da Mes sina , 14 60. Modif ied by F eng Shao, 201 2 .
+44 7411731630recyshao@gmai l .com
Shanghai, ChinaFeng (Recy) Shao
155
W hen the t ide r ises , many of the secrets under the r i ver T hames are hidden, but when the t ide ebbs they are revealed and such secrets as the remains of sea creatures become v is ible . B ec ause of the natural s i tuation , i t is pos sible to reveal the hidden inside .
B y changeable t ides , the hidden spaces which are s i tuated under the s treet are going to be moved up and down . I t wil l show us how the t ides are dif ferent , and i t wil l make more considerable the impor tance . A lso, at low t ides the public acces s to the foreshore wil l be opened, and use of the r i ver wil l be encouraged for archeologic al and educ ational pur poses . T he acces s to the T hames wil l be concealed by the high t ides but af ter a few hour s the secret spaces wil l emerge . W ith the t idal movements , I ’ ve buil t the t idal museum which c annot be imagined above the under wor ld .
+44 79 1243 7833tnwl love_3@hotmai l .com
w w w.sooj i leehe.wordpress .com
South KoreaSoo ji Shin
156
M y wor k explores the phy sic al and ps ychologic al connec tions bet ween the human bod y, small spaces , and their sur roundings . Ini t ial l y, I was interes ted in the subjec t of c laus trophobia and, specif ic all y, on inves tigating the perception of small-trapped spaces . However, this projec t now ex tends prev ious wor k and at tempts more to def ine the per for mance of the bod y in ‘ trapped spaces’. F or s ix year s and for 20 hour s per day I had to wear a bod y brace for my scoliosis . I t c aused me severe problems both phy sic al and ps ychologic al . T his is why I am dr i ven to anal y se and discus s the relat ionship bet ween bod y and per for mance in ‘ trapped spaces’, which for me was infor med by my exper ience of the bod y brace and the claus trophobic fear.
+447724711907 , +0035799110636zoe_id@hotmai l .comzoe_id .com
CyprusZoe Socratous
157
S H A DO W S PA C E S
How impor tant t ime is in order to def ine and re - create a space?
T he under taken proces s consis ts the creation of new for ms inspired by architec tural shapes . T he re - creation of a new shadow space is composed through the projec tion of the l ight , both natural and ar t if ic ial . T he impor tance is the documentation of the ref lec ted shadows on the sur faces that are cons tantl y changing . A n imposed cons tellat ion of shadows is for ming the proposed new space . T he conf iguration of the shadow pat ter ns is completed by the defor mation of a c aptured dancing movement . T he dance notation is introduced in order to re - create a new space .
+35799890264+447791080261
e lenisophocleous12@hotmai l .com
CypriotEleni Sophocleous
158
M y major projec t is about Mental Space, i ts perception and i ts representation . A s a par t of my research I have been explor ing notions of mental space in and for f i lm . T he mental spaces I seek ex is t in dreams , tr y ing to c apture the feeling of being disembodied. I have set up a ser ies of exper iments with dif ferent f i lming techniques , where I have been look ing at the relat ionship bet ween the disembodied c amera and the f i lmed space, where the space is not onl y the main ac tor, but also the ‘decis ion maker ’ in the edit ing proces s . T he choice of the f i lmed spaces has been dic tated by the sense of a s trong direc tionali t y, so the spaces have to be ei ther purel y ver t ic al or hor izontal . T he aim of my projec t is to then seek to recreate the space f rom the f i lm – this becomes the mental space as for med in the ar t if ic ial eye of the c amera .
+4407540369304a.a .va leeva@gmai l .comw w w.al ina-mar t .b logspot .co.uk
RussiaAlina Valeeva
159
P IEC E S OF S PA C EHow c an I mater ial ize an empt y space?B eing empt y c an also mean being f ull of nothing . A ccording to the J apanese notion of Ma, the space bet ween t wo objec ts is a d y namic , ex is t ing space .T he notion of Ma has a posit i ve and d y namic v is ion of the empt y space . T his is how I decided to approach gaps in architec tural ins tallat ions . T he Ma is f unc tional whether the negati ve space has a much more abs trac t meaning . T he negati ve space is s tat ic , while the Ma is s tretchable .In order to emphasize the consis tenc y of gaps , I explored the parallax ef fec t through the development of a range of dev ices . T hese dev ices are designed to emphasise the layer ing and cut t ing in space .T he hor izontal movement of the c amera has a f lat tening ef fec t on gaps f i lmed through these dev ices . T he notions of sound, colour and r hy thm were also impor tant elements to complete my exper iments .A s s i lence is neces s ar y to music , gaps are neces s ar y to architec ture . Spaces bet ween objec ts are hollow and solid , nothing and ever y thing , that is why they are amazing objec ts of s tud y.
+44 7552 870 468cami l lev ier in@gmai l .com
http://cami l lemaisd .wordpress .com
BelgiumCamille Viérin
160
What does sounds do to us, how does it af fect us? In antiquity, apar t from natural sounds, life was nothing but silence. Back ground man-made noise was not really born before the nineteenth centur y with the advent of machiner y. Today noise reigns supreme over human sensibility. For several centur ies , life went on silently all we could hear was the sounds of nature around us; because we were not saturated with sound it was easier to appreciate all we heard around us . In the modern days, because we hear so much sound, it is hard to concentrate on the beautiful and subtle sounds which play at ever y moment.In ter ms of space and architec ture , I sometimes think and ask my self what did this his tor ic al building sound l ike in the pas t and in our t ime does i t sounds the s ame? Today the spaces in which we eat , dr ink , s tud y, wor k and sleep me f ind i t interes ting to think about how they sounded l ike in the pas t 5 year s , 10 year s or 100 year s?Af ter the indus tr ial revolution , technolog y grew dramatic all y. Do we hear too much now? A re we so s aturated with sound that we have fai led to appreciate the subtlet ies of noise around us? Have we forgot ten what s i lence is? I t is these ques tions of s i lence and sound I want to tr y and under s tand in the projec t .A re we in control of how sound changes us? Or does sound have a control over us?
Jing Xue079838192124Emai l : j ingxue98@gmai l .com
161
L ight and Projec tion: T he spec tr um of the s ad r uin of the church .
M y projec t is going to take place in a roof les s outdoor space of a dis t inc ti ve r uin , which has been preser ved as a wreck for over half a centur y s ince i t was des troyed by a V.1 . f l y ing bomb in the S econd Wor ld War, in the S outh Eas t L ondon . A n outdoor per for mance wil l engage l ight and projec tion and re - enac t something of i ts ex traordinar y his tor y. Imagine -the l ight was gentl y f i l tered and coming into the inner space through s tained g las s , that for ms a f igure of the l ight on a f loor. – I aim to embod y the mis sing par t of the building as a theatr ic al per for mance in order that audiences c an exper ience the ghos t of s tr uc ture , such as the ray s of l ight of mis sing windows drawn as a shape on the f loor with shadows of what has been los t - and mapping of the shif t ing s tr uc tures .
+44(0)7587209726f i re000essennt ia [email protected]
http://tomomaisd .b logspot .co.uk/
Tomo Yamane
162
T he E x is tence and E x t inc tion of Space using Ref lec tion
T his projec t is about ref lec tion and mir ror s in his tor ic al buildings . At f ir s t , I anal y zed and s y nthesized all of the charac ter is t ic s of mir ror s and ref lec tion . I then selec ted some of these for f ur ther s tud y. F or example I explored i l lusions which result f rom ref lec tion through the design of ex ter nall y s i ted f ur niture . T his s i te for my cur rent research and prac tice is the L ondon Wall where I wil l use ref lec tion to represent the relat ion bet ween the wall and the sur rounding env ironment .
robby [email protected]
ChinaWenhao Yang
163
L ots of disused spaces are neglec ted in L ondon . E speciall y, Deep -level air-raid shelter is ver y interes ting s i te which has been ex is ted for more than one hundred year s . M y pur pose is to show up the was te s i tuation and arouse people’s at tention through space rec ycling as a rec ycling s tore . T he entrance placed at the par k wil l include nice c afe with a relax ing space, and s tore for sell ing rec ycle produc ts and vegetables . Inside of the shelter wil l be used for a paper rec ycling fac tor y and a far m for rais ing special vegetables which are growing in the dar k . T his projec t wil l sug ges t new pos sibil i t y of the disused place, and f resh layout of the rec ycling s tore .
+4474102226541125yeom@gmai l .com
http://rukat .dothome.co.kr/
KoreaMinjung Yeom
164
I am interested in exploring space through material and in visualizing the movement of objects through space.
This interest emerged from my practice, and in turn continues to inspire it.
I began to investigate how fluid moves in space and how to capture the movement of fluid by experimenting with different techniques for influencing and making visible the fluid dynamics. I became interested in different types of projection devices and the way they work. I was particularly fascinated by the results of shining multiple sources of light through transparencies; their disorienting reduplicated projections remind me of the sorts of double-vision we see when our eyes are trying to come into focus — a kind of incipient 3-dimensionality.
Meanwhile, I wanted to use natural sunlight as a light source to see how the experimental prints might react.
The sunlight gives depth to the reflection of the images and created the sense of volume and space that can be seen in the accompanying photograph. This projection result gives a strikingly different spatial quality compared to using a digital projector; in a way it seems to materialize the space.
+44 7789 867136+852 91565896jacquel ine820@hotmai l .com
Hong KongJacqueline Fuk Yu Yeung
165
165
MA TEXTILE DESIGN
166
In my projec t I am inves tigating the use of second hand clothing and was te tex t i les f rom the fashion indus tr y. Fur ther more these mater ials have been hand pr inted and then wor ked on by var ious highl y sk i l led craf ts people in Pak is tan , where these sk i l ls are in much need of sus tenance . T hese intr ic ate craf ts are al l done by hand and include embroider y, ‘ kamdani ’ and applique . T his Fashion collec tion is inspired by nos talg ia for my home town K arachi and memor ies of a traf f ic jam near my old school which br ing back to mind a bur s t of v ibrant colour and pat ter n found in the area . T his collec t ion targets both the Pak is tani and inter national luxur y fashion mar kets . Not onl y would this prov ide an oppor tunit y for employ ment but also al low the craf ts people to be aware of the env ironmental impac t .
+44 7885756552sanatdesigns@gmai l .com
PakistanSana Aziz
167
I believe that a combination of science and design is the way for ward to maximise the potential of both per spec ti ves! Designer s have the power in their prac tice to create or reinvent for the bet ter. T herefore , why not change the way colour s are being created ? W hich led me to look into bio -pigments as a potential avenue to change the face of pr int and d ye techniques .
We are aware that some microorganisms naturall y produce colour s . S treptomyces with i ts dis t inc ti ve aquamar ine blue, cer tain s trains of e - coli that produce a mult i tude of colour s through simple genetic engineer ing and even yeas t through i ts fer menting proces s of fer sources of v ibrant pigments . We also k now that bac ter ia have a language that helps them communic ate within famil ies . M y interes t s i ts in joining forces with biochemis ts to put bio -pigments to the tes t in a tex t i le contex t and monitor the results .
+44 7756179715mari lynbast ien@hotmai l .com
http:// issuu.com/jdpet i t/docs/mar y l in_bast ien_appl icat ion
CanadaMarilyn Bastien Barrette
168
In my prac tice as a Tex ti le Designer I f ind inspirat ion in the natural wor ld around me, focusing on shapes , colour s and tex tures .
M y pr inted wor k regular l y invol ves hand-drawn f lower s and leaves with v ibrant use of colour. I am cons tantl y s tr i v ing to push the boundar ies to create new and innovati ve pr ints . T he exploration and inves tigation into dif ferent techniques and media are f undamental in my prac tice .
M y cur rent projec t has or ig inated f rom the foundation of v isual and ac ademic research into the wor ld of nature and ar t . I am using ar t as ambas s ador for promoting conser vation .
M y concept of the ‘ New F os sils ’ is a means to preser ve the endangered specimens for the f uture . I have employed the use of c lay to create f ur ther dimension and interes t to my wor k . I have enjoyed using ceramic proces s and have embraced the unexpec ted outcome.
07983113120bosis iopl@hotmai l .com
ItalyPatrizia Loretta Bosisio
169
C osmetic S t i tch
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - T he bod y is beautif ied with plas t ic surger ies and shock ing images of plas t ic surger ies are embell ished through dig i tal pr int ing and hand embroider y on tex t i les sur faces - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - .
Photo by Ros ar io Montero .
boterosusana@gmai l .comw w w.susanabotero.com
ColombiaSusana Botero Santos
170
M y Prac tice is concer ned with our throwaway at t i tude and ques tion how we c an sol ve this s i tuation by mak ing long las t ing produc ts for consumer needs . Rethink ing mar keting by increase produc t l i fe -spans in sus tainable consumption . Under s tanding consumer behav iour, such as f ramewor k of consumption to be explored f rom consumer ’s prospec t . T his is the concept to encourage consumer to s low down consumption behav ior and replace cheap fas t fashion produc ts to mult i - f unc tional valuable produc ts . A ppl y ing with his tor ic al k nowledge based on collar societ y and tailored bespoke, bor rowing the idea of detachable collar s and cuf f s and combined with our moder n t wis ted of fas t changing fashion . T he detachable neck piece and cuf f s could be for med as f unc tional i tems as well as pieces of decoration . A collec t ion box of eas y -removed, long-ter m needs gar ment based acces s ar ies , which also includes c ar ing , replacing and repair ing k i t .
+ 44 7568099651cyl7000@gmai l .comw w w.not justa label .com/jasmine_yehlam_chan
ChinaYehLam Chan
171
A house is a place that al lows me to feel war m and relaxed. I would also expec t i t to be able to percei ve the eco -concept f rom my wor k and how to make old fabr ic look at trac ti ve by redesign . A miniature doll ’s house is not unfamil iar for mos t people . People bor row objec ts f rom the human wor ld and change the f unc tion to adapt i t for the doll ’s house . Mos t of the t ime, an or ig inal f unc tion does not ex is t . I aspire to create a place that c an present my prac tices in a comfor table and reliable space . T herefore , I intend to create a room, which is a doll ’s house in human size , and make any decorations in the s ame way I would f reel y decorate my doll ’s house .
+44 927231054chienyu0513@gmai l .com
TaiwanChien-yu Chen
172
S econd hand cultures : thr if t , re -use, craf t and emotional connec tion .
Fascinated with collec t ing and using i tems f rom eras pas t , I create highl y decorati ve , colour-r ich , mult imedia tex t i le wor k .
Using drawing , s t i tch and pr int to design and make pieces with per sonal meaning , second hand mater ials , such as coloured antique thread on wooden spools , feature heav il y in my design wor k .
I draw on the ‘60s / ‘ 70s ‘ B ack to the Ear th’ s t y le and values , where embroider y embell ishment was uti l ized as a means of self-expres sion .
M y cur rent designs look at the s y mbolic value and meaning of f lower s . E xplor ing the use of the ‘ language of f lower s ’ as a means of communic ation , I am creating tex t i le gar lands which take for m as collar s and c apes .
07903430720breecroon.sty l [email protected] ://cabinetof wonder-ever y thingsecondhand.blogspot .co.ukw w w.breecroon.com
United Kingdom /New ZealandBree Croon
173
Plants pos ses s inherent quali t ies , which c an soothe or s t imulate our senses . T he wealth of for m and s tr uc ture found in f lora , when grouped har moniousl y c an generate a power f ul v isual language and atmosphere . B y accompany ing this language with quali t y craf t and f inish i t is pos sible to tr ig ger an emotional response as sociated with memor ies and nos talg ia .
Using s imple templates based on his tor ic al i tems , I have created domes tic pieces which are used f requentl y, kept longer than mos t and may be adapted to suit dif ferent requirements . T he t imeles s beaut y of plants that inspires my pr int designs should encourage las t ing desirabil i t y.
S tr ik ing or delic ate details of fer insight into a wor ld f rom which we become ever more removed. Mos t of us f ind tak ing t ime to appreciate nature a great tonic and I hope that the v isual content of my wor k wil l s t imulate a s imilar response, creating something of emotional and f unc tional value .
+44 7805850782char lotte@char lottedaydesign .com
char lottedaydesign .com
United KingdomCharlotte Day
174
M y pr int and s t i tch based tex ti les ref lec t the fores ts , gardens and f ields of C anada . C olour and imager y are y ielded f rom black walnut , but ter nut , birch and oak , madder, weld and woad, goldenrod, sumac and wild c ar rot . Each colour c ar r ies i ts own r ich nar rat i ve , and together they wr i te the s tor y of the land. Natural d yes are tangibl y l inked to geographic al org ins , hues being changeable with season, rainfall , soil and sun .
Inspired by the resourcef ulnes s of my ances tor s and the abundance of the C anadian landsc ape, I design tex t i les for a wor ld suf f used by the ingenuit y of the pas t and the science of the present , where we ex is t in concer t with the wilder nes s that sur rounds us .
thea .e . f.ha ines@gmai l .comthea.haines .cadomest ique-scient i f ique.b logspot .co.uk
CanadaThea Haines
175
M y prac tice explores the use of modular design as a means of creating f lex ible space . T he design model has the abil i t y to shif t and transfor m, thus adapting to societ y ’s ever-changing needs . M y prac tice explores interac ti ve design v ia engraved, screen-pr inted geometr ic ‘ building blocks ’ and inter- lock ing s y s tems . T he idea that modules c an be transpor ted easil y f rom space to space inv i tes the idea of a long-life and durable produc t design . W hether the units are used to create moveable wall s tr uc tures , shel v ing , or f ur niture s tands for table and seating ar rangements , my design concept sug ges ts mult i-f unc tionali t y v ia countles s s tr uc tural conf igurations . T he consumer has creati ve input into the design proces s through choices over, not onl y produc t f unc tionali t y, but component shape, sur face and colour combination . I t is , therefore , not onl y the longev it y and mult i-f unc tional aspec t of my design that is key in tack ling the is sue of growing consumer consumption , but also the per sonalization of my design concept .
j igsaw-house.com
United KingdomPenny Hayhurst
176
M y main concer n is to f ine the new way to wor k out yar ns and combine the result with old f ur niture .
T he natural draw to the v intage element led me toward the research of v intage things and how can they be reuse again; the most impor tant thing is to add value to them. B y v isiting markets , car-boot and jumble sales , I slowly accumulated v intage items for both researching and building the colour palette. When I take a closer look into things I have, I discover that there seems to have a pattern of singular ity within; they are all winding around circle. I t echoes my main theor y – the retreats of v intage objects , and takes unwanted things back to the consumption loop again.
chiaho2@gmai l .com
TaiwanChia-Hsing Ho
177
In modern society, we all live in an environment which is a mix ture of natural element and synthetic products . We use plastic bags while we can have a back yard full of fresh f lowers growing. We enjoy a night out in the big city surrounded by neon lights while we still want to spend a long holiday just relax in an old and small countr yside town.
T his projec t is s tep up to discover the relat ionship bet ween these t wo elements which are totall y opposite but both neces s ar y in our l i fe . B amboo f iber and Glow-in-the - dar k yar ns are chosen as t wo main mater ials to represent the t wo elements , natural and s y nthetic s . T he gar ments wil l have t wo dif ferent appearances dur ing day t ime and night .
07852681977ceci l ia .j .huang@gmai l .com
Jie Huang
178
Imper fec t c an be per fec t
+44 07554159308itogahiromi@gmai l .com
JapanHiromi Itoga
179
T he aim of my projec t :
Design to minimize was te and replace the need to consume were t wo main aspec ts that invol ved in my s tudio prac tice . I am researching fabr ic and mater ials which with long-lifespan and aes thetic s f unc tion in order to reduce the tex ti le was te in ter ms of the consumption . M y aim was to combine reall y tradit ional tex t i le techniques , such as c anvas wor k techniques and f rees t y le embroider y techniques with f unc tional mater ials-glas s f iber and ceramic s to design tex t i le produc ts with longer l i fespan . B esides , I w il l also br ing other techniques , for example , folding and or igami into my design , in order to explore way s to add value onto cheap mater ials for minimize tex t i le was te and reach the aes thetic longev it y. M y s tudio prac tice is c losel y bound up with T E D ’s T E N s trategies . I explore the way s for sus tainable design and minimal env ironmental impac t to tex t i le design , as well as s tres s a posit i ve role for f inding solutions to al lev iate cur rent tex t i le unsus tainabil i t y.
ChinaHuimin Liu
180
T he patina of objec ts speaks of his tor y, nar rat i ve and memor y.
I t c ares ses ’ objec ts with t ime and imbues them with beaut y we treasure .
Each owner leaves traces of themsel ves behind to compose a s tor y of owner ship and ‘ wear ’. W ithin tex t i les the idea of patina does not ex is t . T here is onl y the wor n , s tained, faded and f rayed. W ith my wor k I hope to tel l a tale of the unexpec ted and f ind the patina in tex t i les and through i t i ts beaut y.
+447958332194kl@kik i la la .co.ukk ik i lotext i le .com
United KingdomAlexandra Kiki Lo
181
Ashita Nawalkha
anawalkha@hotmai l .com
India
Born and raised in the histor ical city of Jaipur in Rajasthan, I am deeply rooted and attached to the r ich culture and her itage of my countr y. I want to develop a sty le which ref lects the ancient traditions of Indian craf tsmanship in a contemporar y vocabular y. I believe in understanding the ancient designs and employing innovative use of the traditional craf ts to create a new sty le for the modern India .
S us tainabil i t y is an impor tant concer n for me; therefore I am wor k ing with disc arded block pr int back ing cloth for my M A projec t . T he fabr ic shows the s tr ug gle , pas sion and c are of the block pr inter s I believe that I under s tand their obses sion in their wor k which encourages me to make the mos t of the fabr ic ; transfor ming was te to an objec t of desire and g i ve a tr ibute the craf tsmanship behind i t . Upc ycling was te mater ials is the trend that I want to introduce in India .
182
Emotional / Emotionles s
To expres s the feelings and s tor ies hidden in nature , trees are selec ted as the key element of this projec t . T hrough the communion bet ween humans and trees , this projec t discover s how the shared feelings of humans and trees are hidden and expres sed.
+44 7412568304mir yo2125@gmai l .commir [email protected]://mintaekoh.com/
South KoreaMintaek Oh
183
T he aim of this projec t is to design a collec t ion of sk ir ts using second hand mater ials which have been reshaped into a more contemporar y design . Pr ints wil l be applied to my designs using dig i tal l y designed pat ter ns which have a minimal impac t on the env ironment . S imilar l y, there wil l be no was te concer ning the fabr ic s as I w il l be upc ycling i tems of c lothing .
I w il l use nudes who wil l be ordinar y people with phy sic al imper fec tions , thus enabling me to explore the pos sibil i t ies of the bod y outside the f rame with ques tionable sexuali t y, the nudit y with i ts sexual neutrali t y opening up a dialogue of meaning with the pos sibil i t y of ex tending the bar r ier s of social l y acceptable sexuali t y. Photographs of the nudes wil l be taken with projec ted for ms and shapes using images of jeweller y on their bodies . I w il l create pat ter ns which wil l accentuate aspec ts of feminini t y by excluding the bod y f rom the back ground.
07848930567sandrapag90@hotmai l .com
http://cargocol lect ive .com/sandraloulou
GreeceAlexandra Paganopoulou Loulou
184
Green inter ior design is an obligation and an oppor tunit y to sus tainabl y design spaces that minimize har m to the env ironment and people . Of cour se fashion and trend is a big par t of any design but i t is not the mos t impor tant mat ter. T he mos t impor tant mat ter s are ‘sus tainable’ ‘rec ycled ’ ‘non-tox ic ’ and ‘organic ’. T his is a point that c annot be s tres sed too much .
Mos t people believe that eating well and exercis ing wil l reduce the chance of i l lnes s . However research shows that , the number s of people suf fer ing f rom env ironmental related i l lnes ses are cons tantl y increasing . A nd therefore , interes ts in eco -inter ior design are also increasing .
T he pr ior i t y of this projec t is to produce fabr ic s that c an be used for var iet y pur poses such as f ur nishing and wallpaper s , but s t i l l ref lec ting sense of s t y le , spatial needs and helps you l i ve in a healthier env ironment .
+44 7843388990j i .h .park@hotmai l .com
South KoreaJi-hye Park
185
Human beings have a multitude of senses; in my project , I attach impor tance to the sense of touch. I believe that tex ture is ver y impor tant , more than the v isual appearance.We are bombarded dail y by images . We as sume that ‘seeing is believ ing ’, but are we pas si vel y look ing , rather than reall y seeing?Touch ac ti vel y engages us , i t creates a phy sic al connec tion bet ween the wor ld around us . I decided to make mater ials that create i l lusions . I focused on three dif ferent perception i l lusions : - how to make a tex t i le which looks wet but is ac tuall y dr y.- a tex t i le which seems threatening , which c an hur t you, but is sof t .- a hard metal , which peels l ike gold leaf when you touch i t .I would like to create dif ferent installations for each illusion. T he aim is to produce sensor ial and i l lusion spaces , which encourage people to touch, in order to arouse the public ’s cur iosi t y and s t imulate interes t .
07774262064al izeeperr in@gmai l .com
FranceAlizée Perrin
186
Making sus tainable garments s tar ts with creativ i t y in the design . M y projec t as ses ses whether i t is pos sible to create reduced was te garments through a par ticular weav ing technique and mix with tradit ional f rom Kas tamonu / T URK E Y which is called S elalmaz fabr ic . T he sooner we are able to s tar t sav ing mater ial was te f rom the design, the sooner we can commence creating a greener env ironment . Of par ticular interes t was uncover ing the current si tuation around the S elalmaz fabr ic , which was approaching ex tinc tion due to i ts low demand. T he projec t aimed to add greater value to the S elalmaz fabr ic and rev ive i t within the tex tile indus tr y. T his could be achieved by weaving i t with bamboo, colour ing the fabr ic and creating a zero was te pat tern cut ting for more sus tainable and desirable garments . A s opposed to util is ing i t in i ts current l imited remit as table cloth or scar f.
0044 77913 21623info@serappol lard .comw w w.serappol lard .com
Turky/ United KingdomSerap Pollard
187
W hile I am being taught that we should design for sus tainabil i t y and ecologic all y in C helsea , which make me as sociate with the cur rent s i tuation of pollut ion , especiall y air-pollut ion in my home countr y - C hina . T hen I had the idea to do some design which inspired by air-pollut ion . I v is i ted the mos t air-polluted ci t y, L infen , C hina , and photographed some pic tures there . In order to g i ve a v i v id and s trong impres sion , I choose dig i tal pr int to display the images of air pollut ion . A nd I wil l make fashion gar ments by using these pr inted fabr ic s . T hrough my s tudio prac tice , I want to aware people that the air condit ion in somewhere of C hina remains at a dangerous degree as to the l i v ing env ironment there is badl y af fec ted, and then to appeal people al l over the wor ld to continue mak ing ef for ts into the sus tainabil i t y bat t le for our l i v ing env ironment .
+44 07427332792sherr yshen333@hotmai l .com
ChinaQing Shen
188
‘G ar ment B asketr y ’
T he under valued common sk il l has been transfor med through the s imple Diagonal P lai t and Twil l Weav ing Pat ter n into self-tex ture contemporar y fashion collec t ion . C ontinuous l ines that r un acros s the gar ment pat ter n piece create the s traightfor ward yet sophis t ic ated outf i ts that mold over the wearer ’s bod y.
Rather than jus t being a par t of fashion s tr uc ture , this projec t is aiming to contr ibute the hir ing , to top up the wor ker s ’ sk i l l value and to rev i ve the cultural her i tage .
Model wear s an A pron Tunic Dres s with f ront pockets ; C ot ton Webs , P leated C ur tain Tape to demons trate the Tex ture , S of t Ves t and Sk ir t ; C ot ton Tapes , C ot ton Webs .
+44 7939845810basket izer@gmai l .com
ThailandWiriya Techapaitoon
189
Fascinated by woven design and three dimensional s tr uc ture , this projec t explores mater ial and proces s-led design . Design ideas and a highl y developed under s tanding of mater ials and techniques are brought about by continued hand exper imentation .
T his projec t aims to gain an under s tanding of the relevance of the hand within the design proces s , look ing at the use of the hand both as a tool for design development and for f inal produc tion .
07712587370louise_tucker84@hotmai l .co.uk
louisetucker.net
United KingdomLouise Tucker
190
I have been explor ing the meaning behind design ethic s , when applied to a tex tile design prac tise, because I wish to s tar t my own sus tainable tex tile busines s . I wish to prov ide sus tainable tex tiles by the meter and help spread the awarenes s by launching a design platform for young designers to create l imited edit ion pieces using the tex tiles available in the shop. M y work is an i l lus tration of the proces s a young designer would go through to create a commis sioned collec tion . T he theme of my work explores my identit y in terms of culture and inf luence. Hav ing been born in C anada, brought up in Dubai and educated in France and the UK , I have picked up pieces of dif ferent cultures and used this projec t as a form of self exploration .
+44 7530540434sabarahbar@gmai l .comsabarahbar.b logspot .com
CanadaSaba Vafai Rahbar
191
Repellent At trac tion:
F inding B eaut y in the Unusual for a S us tainable A pproach to Design
I am conducting my research through the creation of a line of ‘Body Objects: ’ pieces that lie somewhere between fashion and costume jeweller y, made from var ious natural and ever yday mater ials . I am interested in the transformation of simple mater ials into functional decorative jeweller y pieces; embracing the ordinar y to create something unique and beautiful with them. Each piece will be made to achieve an ef fect of per formance when worn, with a strong graphic impact against skin or clothing and imbuing the wearer with a sense of power and indiv iduality.
I wil l explore the ques tion of at trac tion and repulsion; what makes something wor thy of keeping forever? I have drawn par t of my inspiration f rom the Mayans , specif ically f rom their r i tual clothing , jeweller y and headdres ses . T hey had a fascinating way of using the natural mater ials around them, along with shape and colour, to create pieces that had a power f ul impac t when worn . Each piece made a s tatement and was worn as a means of self-expres sion, which is what I aim to achieve through my collec tion .
+44 7702329268saskina67@hotmai l .com
United Kingdom/BelgiumSaskia van Nieuwenhuyse
192
“ Regular i t ies with Ir regular i t ies”
Nature has been a l i felong inspirat ion for me. I t pos ses ses drama and innocence at the s ame t ime along with endles s color s and tex tures . Her peculiar beaut y is hard to ignore . M y s tudio prac tice revol ves around using autumn for ms with spr ing color s showing optimism and rebir th . C ar r y ing my c amera at al l t imes so that I c an c apture nature at i ts bes t is what I ’ ve made sure of. Using a ver y interes ting methodolog y of pr int and d ye images over laid , I have tr ied to gain regular i t ies with ir regular i t ies .
I w ish to br ing the beaut y of natural word in our homes where i t c an be appreciated at al l t imes .
+44 7707086979dit [email protected]
IndiaDiti Vora
193
S ur rounding env ironments inf luenced us when we grow up and build up our sel ves as an independent per son . A s more than half of the wor ld ’s population l i ves in towns and ci t ies now in 201 2 , we see the achromatic grey, black and neutral colour s f rom the buildings and asphalts as comfor table , protec table colour, a c amouf lage .
We now consume 30 percent more clothing than even four year s ago, fashion being based on desire rather than needs . I t is t ime for an evolution if ‘ fas t fashion’ is inev i table ; the development of fashion indus tr y is required to f ind a har monic way for fas t fashion and ecologic al methods , the co - ex is tence . A s a fashion designer, I am searching for the beautif ul tones of grey and black in natural d yes as ‘moder n c amouf lage colour shades’ to design with other s y nthetic fabr ic s for the def ini t i ve f ir s t collec t ion of c las sic fas t fashion label ‘ theblackandbrowny.com’.
+44 7552516055+82 1095083038
theblackandbrowny@gmai l .comw w w.theblackandbrowny.com
Republic of KoreaBo Ra Wee
194
+44 7514261815+82 1031227758keolwoo@hotmai l .com
KoreaSeung Keol Woo
195
M y main area of inves tigation is the connec tion bet ween per sonal his tor ies and k nit t ing /s t i tching /pr int ing . I am researching the way s that combined my dair y and per sonal his tor ies with rec ycled mater ials .
M y projec t is about memor y. T he wor k aims to record unrecognizable precious moments of ever yday l i fe . I have at tempted to show dair is t ic wor k ; documentation of the quotidian . I want to rediscover the traces of my l i fe through memor ies and make v iewer s to remind their valuable things that c annot be brought back .
I am play ing the opposing meanings by using disposable mater ials to depic t cher ished memor y in terms of being unaware of the present . People normally feel no emotion but that of boredom in their f ixed routine of daily l i fe rather than feeling gratef ul . But the tedious moments piled up as t ime goes by and the cumulated moments become people’s memor y, which we can remember af ter wards over t ime, and then we only thank to our pas t t ime.
soin9104@gmai l .com0781 0161 232
Soin Yoon
197MRES ARTS PRACTICE
198
M y sculptures and drawings are based on the proces s of g i v ing shape to the mater ials following an intuit i ve way of wor k ing . I am interes ted in the relat ionship bet ween the mater ials , for ms and space . Fur ther more the sculptures are sculpted independentl y in the s tudio, and I examine way s of how they are coming together to create a coherent whole at the ins tallat ion s i te through display. T he ins tallat ion s i te has the role of connec ting the sculptures to each other, rather than being par t of the sculptures .
Sophia DemetriouUnited Kingdom
demetr [email protected] iou .com
199
How do we encounter the complex i t y of s igns expres sed on and bet ween cos tumed bodies in per for mance? C an drawing inv i te a new engagement into recorded dance that c an aid our under s tanding of these meanings?
K atie E l l iot t is a wr i ter, ar t is t and scenographer. Her cur rent prac tice -led research inves tigates s ignif ic ation of cos tumed bodies in P ina B ausch’s Or pheus and Eur ydike . T his wor k includes a shar ing of her indi v idual exper ience seeing cos tumed dancer s , and encompas ses exper imental drawing , projec tions , and a dialogue with Julia K r is teva’s ps ycholinguis t ic theor ies . T he role of ar t is t ic prac tice in her enquir ies ac ts as a kaleidoscope, a ‘seeing into complic ation’. Drawing allows a translat ion of her ephemeral and unconscious readings of scenography into v isual c lar if ic ations .
‘Processes of drawing unfolded the immersion felt while viewing per formance, and revealed a desire to follow the dancer. I realised this empathy had emerged out of individual thought and a seductive dialectic emanating from the costumed bodies .’
07791415852k .e l l [email protected] ts .ac.uk
http ://kat ieel izabethel l iott .wordpress .com/
Katie ElliottUnited Kingdom
200
J inah L ee, a Korean ar t is t , holds an MFA in Painting , and a BFA with honour s in Painting & Pr intmak ing and A r t his tor y f rom the Ewha Womans Uni ver si t y in S eoul . Her s i te -specif ic ins tallat ions , v ideos , public ar t wor ks have been mainl y presented in S eoul . Af ter f inishing her Mas ter thesis in 2010, she par t ic ipated in A E A F (A us tralia E xper imental A r t F oundation) s tudio in A delaide before coming to L ondon .
Her ar t wor k and research are mainl y concer ned with the collapse of ter r i tor ial boundar ies bet ween social , poli t ic al and geographic al space; elements , which she believes are , in the age of g lobalizat ion , in per petual movement and simultaneous emigration . But exac tl y how do people exper ience this movement? How c an this inv is ible collapsing boundar y be v isualized ? To ans wer this ques tion , L ee’s c aref ul obser vations and f indings through drawings seek to open the pos sibil i t y for unsuspec ted interac tions of exper ience and k nowledge in relat ion to geopoli t ic al and cultural boundar y is sues .
Jinah LeeSouth Korea
+44 7712634819j inalee0518@gmai l .comw w w.j ina lee-ar t .com
201
T his is par t ic ipator y mult isensor y ar t . M y ar t prac tice seeks to as ser t the pr imac y of the bod y in perception , and asks you to par t ic ipate through all the senses so of ten excluded f rom ar t ; touch, smell , and tas te . In the place of an ‘objec t ’ my ar t wor k creates an ‘embodied ’ exper ience, through a ‘ bloc ’ of sens ation and the suprasensor ial , which “does not ac tualise the v ir tual event but incor porates or embodies i t : i t g i ves i t a bod y, a l i fe , a uni ver se [. . .] T hese uni ver ses are neither v ir tual nor ac tual ; they are pos sibles , ‘ the pos sible as aes thetic c ategor y ’ ” (Deleuze W hat is Philosophy?) .
P lease touch, smell , eat the ar t wor k , be prepared for an aes thetic exper ience that taps into emotion , memor y and int imac y, where the meaning of the ar t onl y comes into being in relat ion to your being , your as sociat ions and under s tanding of the wor ld brought f rom pas t exper ience . T he f lat ‘concept ’ is replaced by a created sensor y reali t y, w ith i ts net wor k of subjec ti ve meaning …
Emil y L udolf is a graduate of O x ford Uni ver si t y, where she specialized in A es thetic theor y, and pas t F inalis t on the BB C ’s Mas terchef in 2008 .
e. ludolf1@ar ts .ac.uk
Emily LudolfUnited Kingdom
202
C oordinates of contemporar y C ambodian women’s ar t :
Reflection and documentation through an experimental book
T he pur pose of this prac tice -led research is to br ing at tention to the prac tice of contemporar y C ambodian women ar t is ts . I t includes my subjec ti ve posit ion as researcher as well as pas t and contemporar y ar t his tor ic al notions through an innovati ve for m, here c alled an exper imental book .
I intend to reveal perceptions and inter pretations of their ar t prac tices . I w il l do this through images of ar t wor ks , newspaper cut t ings , email conver s ations , and excer pts f rom ar t ic les ; also ar t is t s tatements and tex ts wr i t ten by ar t jour nalis ts and curator s about C ambodian ar t selec ted f rom my own archi ve . M y main pur pose being to highlight the women’s ar t wor ks . T he haptic approach aims to engage the v iewer and to create int imac y with the ar t is ts ’ (hi)s tor ies .
Lydia ParusolGermany
lydiaparusol@gmai l .com
203
Sharon Phelps is using both prac tice and wr i t ing to explore methods in which nuance may occur within painting . W ith the wor k ing t i t le A gnes Mar t in: Painting as Mak ing , she is researching the way in which cer tain t y pes of painting inv i te a phenomenologic al encounter. T hey draw a v iewer in c lose to s tud y the subtle details within the mater ial i t y of a wor k before dis appear ing into a haze at a dis tance . She is explor ing innovati ve way s in which to wr i te about painting through per sonal encounter s , and in the cour se of her research is f inding new methods in which f ragil i t y and transfor mation become a par t of her painting prac tice .
sharonphelpsar t [email protected] w w.ax is web.org/ar t ist/sharonphelps
w w w.encounters withpaint ing.wordpress .com
Sharon PhelpsUnited Kingdom
204
Loredana Todor has worked as an Interior Designer for seven years. She has a BA in Psycholog y from Babes-Bolyai University in Cluj-Napoca, Romania and a BA in Interior Design from Istituto Europeo di Design in Milan, Italy. She now specialises in Environmental Psycholog y.
An analysis of Environmental Psycholog y and its approaches to Institutions for Young Offenders
This research investigates the effects of the environment on the moods, feelings and behaviours in Youth Detention Centers, in par ticular the factors that can help with the rehabilitation process, or can prevent violent behaviour. This study argues for research that establishes scientif ically grounded guidelines to help interior designers plan these environments better. The focus will be on Biophilic Design. This helps inmates have a psycho-physiological experience with a more natural environment especially including plants, natural light, and furniture designed in organic shapes.
Loredana TodorRomania
loredanatodor@hotmai l .com
205
F ollowing Womanhouse, I have applied a gender-rever s al technique to the iconic image of C ameron’s Bull ingdon C lub photograph . T his highlights the retur n of a r uling el i te and ques tions why there are so few women in top jobs . I also used a var iet y of media in the painting , as member s of Womanhouse did , in this c ase to create their breas ts . I employed s tock ings s tuf fed with cot ton (af ter S arah L uc as), f r ied eg gs (af ter V ick i Hodget ts ’ K i tchen Room in Womanhouse), milk bot t les and other mater ials . I have transfor med their breas ts f rom being pr ime sources of food to f ishing rods impl y ing occupational ac t i v i t y designed to prov ide food f rom ex ter nal sources .
T i t le : B or n to r ule? T hen feed the nation! (par t ial image)
Dimensions : 15 0 x 15 0 x 100 cm
Mult i-media ins tallat ion
+44 7722964195happy turner@hotmai l .com
copycatgal ler y.comturnersgal ler y.com
Helen TurnerUnited Kingdom
206
S t u d e n t I n d ex
M A F i n e A r t A n , M i n w o o k - 8
A r t i g a s , E l e n a - 9
B a a s s i r i , D a l i a - 1 0
B a i k , S o o E u n - 1 1
B e a l e s , K a t r i o n a - 1 2
B y r n e , R e b e c c a - 1 3
B o u l e , C h o i Yu k K u e n - 14
C h o , S e e u n - 1 5
C u n n i n g h a m , E l e a n o r - 1 6
D e B o e r, A d a m - 17
D e d h i a , R aj v i - 1 8
D e d i c s , N i c h o l a s - 1 9
E k , T h e k l a (S o t h e a n y S o p h i e) - 2 0
E l t o n , L i z - 2 1
F a r r e l l , R o s i e - 2 2
F i g u e r o a P a l a u , C r i s t i n a - 2 3
G a o , Yu a n - 24
G a r i n , R a q u e l - 2 5
H a n , S a n g B a e k - 2 6
H i i , S h i e w E n g - 2 7
H i t z e m a n , R o b e r t - 2 8
H o n g , J u h e e - 2 9
H o o p e r, R e b e c c a - 3 0
H w a n g , J i h e e - 3 1
J o n e r h e i m , C h a r l o t t e - 3 2
J u n g , S u - 3 3
X i e , K a n - 3 4
K e o g h , J o h a n n a - 3 5
K i m , J e a n - 3 6
K i m , N a k y o u n g - 3 7
K i m , S a n g - h y u n - 3 8
K o z l o w s k i , M i c h a l - 3 9
L a n d e r, J a m e s - 4 0
L a w l o r, W i l l i a m J . C . - 41
L e a l , S a n t i a g o - 4 2
L e e , D a e c h u l - 4 3
L e e , E ( H y u n J o o n) - 4 4
L e e , H y i J u n g - 4 5
L e e , S e -J u n g - 4 6
L i m , Yo n g h y u n ( J a c k i e) - 47
L i , X i a o - y a n g - 4 8
L o c k e , L a n a - 49
L u c a s , A l i s o n - 5 0
L u , C h e n - S h i h - 51
M a r z e t a , A l e x - 5 2
M c A r d l e , C l a i r e - 5 3
M e r a M a r t i n e z , D a n i e l - 5 4
M i l l a n , A n a M a r i a - 5 5
M o o n , S o Yo u n g - 5 6
M o r i s , S a k u r a - 5 7
N a m a z i , M o h a m m a d - 5 8
O h , H y u n h w a - 5 9
P a g e , Va n e s s a - 5 2
P a g e r, S a r a h - 6 0
P e r e i r a , A n a C a t a r i n a - 6 1
P i d d o c k , J e s s - 6 2
R a c e , J o - 6 3
R a i l t o n , To m - 6 4
R o b i n s o n , M i c h a e l - 6 5
S a l c e d o , A l e j a n d r o - 6 6
S h e p h e r d , L e n e - 6 7
S h i n , J u n g h e e - 6 8
S i m , J a r r o d - 6 9
S i m , - A r a m - 7 0
S o n , Yu H w a - 7 1
Te e g a n , N i c k y - 7 2
To m i y a s u , Yu m a - 7 3
Va n D e n B o s , M a a r t e n - 74
W h i t f o r d , L u c y - 7 5
W h i t t a k e r, A l e x - 7 6
W o n , J a e y o u n - 7 7
Ye o , A s h l e y Y K - 7 8
Yo u , H y e s o o - 7 9
Yu e n , J o e l - 8 0
Yu e , X i a o f e i - 8 1
Z a v a r e i , S a b a - 8 2
Z h a n g , X i n g y u e - 8 3
M A G r a p h i c D e s i g n C o m m u n i c a t i o n
A r r u d a , A n d r e - 8 6
B i , Yu e - 8 7
B o u l e t , E m m a n u e l l e - 8 8
C a i , Z h e n j i e - 8 9
C h e n , K a i - 9 0
D u m u t a , A n d r e e a - 9 1
D u p r e , M e l i s a - 9 2
E d g a r, J e n n a - 9 3
G a o , J i n g x i a n - 9 4
G o t e l l i , C l a r a - 9 5
G r i g o r i u , A n a - M a r i a - 9 6
H a l l s , S a r a h - 9 7
H u a n g , Yu n t a o - 9 8
J i a , C h u a n ( Tr aj a n) - 9 9
L e e , H a n -Y i n - 1 0 0
L e e , H a n n a - 1 0 1
L e e , C h e n g - H a o - 1 0 2
L i n , Y i -Te ( E d d i e) - 1 0 3
L i , H a i Y i - 1 0 4
L u , J i n g y a - 1 0 5
M a r t i n e z , D a n i e l O r l a n d o - 1 0 6
O u y a n g , X i a oj u n - 1 0 7
P a n , C h e n -Yu - 1 0 8
P a s t r e , L o r r a i n e - 1 0 9
D e s p o - 1 1 0
R aj a r, S a m i a - 1 1 1
S a n g , C o n g - 1 1 2
S a p a l y, G a e l l e - 1 1 3
S h a m , R a c h e l - 1 14
Ts a i , Y i -J u - 1 1 5
U r u m o v a , S o f i y a - 1 1 6
W a n g , X i - 1 17
W a n g , X i a o f e i - 1 1 8
W u , Y i n g p i n g - 1 1 9
W u , C h e n g - H a n - 1 2 0
Z h a n g , Y i n g - 1 2 1
Z h a n g , Z h a n - 1 2 2
Z o u , Y i - 1 2 3
207
M A I n t e r i o r a n d S p a t i a l D e s i g n
A n , H e y m i - 1 2 7
A r t e m i , I r e n e - 1 2 8
A u r s i r i s u b , S i r i n t r a - 1 2 6
B a r l o w, I t o h a n - 1 2 9
B l e n k i n s o p , L a u r a J a n e - 1 3 0
C h a k e r, S i r i n e - 1 3 1
C h e n , Y i - W e i - 1 3 2
D i m i t r a , D o u z e n i E l e n i e - 1 3 3
E v a n s , J e n n i f e r M a y - 1 3 4
F u , L i a n z h o n g - 1 3 5
G a n d o l f o , C r i s t i n a - 1 3 6
H e l o u , R o l a n d J o s e p h - 1 3 7
H e r e d i a R o d r i g u e z , N a t a l i a - 1 3 8
H e , M a m o ( J u e l i n) - 1 3 9
I z a w a , M i w a - 14 0
J e s a d a p a t r a k u l , N a p a t - 141
J i a , M o - 14 2
K a n g , M i n k y u n g - 14 3
K t e n a , O l g a - 14 4
L a i -Tr e m e w a n , Y i -Z h e n - 14 5
L e e , K e u n H y e - 14 6
L i a g k i , S t a m a t i n a - 147
L i m , M e n S u n - 14 8
L i m , J o o n h w a n - 149
L o , M i n g S h u m - 1 5 0
O h m , I s a b e l l e - 1 51
P e t k o v a , A n t o a n a - 1 5 2
P h i l i p p o u , V i c k y - 1 5 3
S h a o , F e n g ( R e c y) - 1 5 4
S h i n , S o o J i - 1 5 5
S o c r a t o u s , Z o e - 1 5 6
S o p h o c l e o u s , E l e n i - 1 5 7
Va l e e v a , A l i n a - 1 5 8
V i e r i n , C a m i l l e - 1 5 9
X u e , J i n g - 1 6 0
Ya m a n e , To m o - 1 6 1
Ya n g , W e n h a o - 1 6 2
Ye o m , M i n j u n g - 1 6 3
Ye u n g , J a c q u e l i n e F u k Yu - 1 6 4
M A Te x t i l e D e s i g n
A z i z , S a n a - 1 6 6
B a s t i e n B a r r e t t e , M a r i l y n - 1 6 7
B o s i s i o , P a t r i z i a L o r e t t a - 1 6 8
B o t e r o S a n t o s , S u s a n a - 1 6 9
C h a n , Ye h L a m - 17 0
C h e n , C h i e n -Yu - 17 1
C r o o n , A n n i e B r e e - 17 2
D a y, C h a r l o t t e - 17 3
H a i n e s , T h e a - 174
H a y h u r s t , P e n n y - 17 5
H o , C h i a - H s i n g - 17 6
H u a n g , J i e - 17 7
I t o g a , H i r o m i - 17 8
L i u , H u i m i n - 17 9
L o , A l e x a n d r a K i k i - 1 8 0
N a w a l k h a , A s h i t a - 1 8 1
O h , M i n t a e k - 1 8 2
P a g a n o p o u l o u L o u l o u ,
A l e x a n d r a - 1 8 3
P a r k , J i - H y e - 1 8 4
P e r r i n , A l i z e e - 1 8 5
P o l l a r d , S e r a p - 1 8 6
S h e n , Q i n g - 1 8 7
Te c h a p a i t o o n , W i r i y a - 1 8 8
Tu c k e r, L o u i s e - 1 8 9
Va f a i R a h b a r, S a b a - 1 9 0
Va n N i e u w e n h u y s e , S a s k i a - 1 9 1
Vo r a , D i t i - 1 9 2
W e e , B o R a - 1 9 3
W o o , S e u n g K e o l - 1 9 4
Yo o n , S o i n - 1 9 5
M R E S A r t s P r a c t i c e
D e m e t r i o u , S o p h i a - 1 9 8
E l l i o t t , K a t i e - 1 9 9
L e e , J i n a h - 2 0 0
L u d o l f, E m i l y - 2 0 1
P a r u s o l , Ly d i a - 2 0 2
P h e l p s , S h a r o n - 2 0 3
To d o r, L o r e d a n a - 2 0 4
Tu r n e r, H e l e n - 2 0 5
