show and tell

central saint martins degree shows one and two 2017 contents

4 Introduction from Jeremy Till, Head of College 6 CSM Come 8 designing no identity

SHOW ONE SHOW TWO

12 alternate realities 54 beyond borders 16 Juliana Dorso TAKE FIVE 58 Adam Paroussos TAKE FIVE 18 Michelle Yasuda INTERVIEW 60 Kaye Toland INTERVIEW 20 Realf Heygate TAKE FIVE 62 Berto Valló TAKE FIVE 22 the rest is history 64 virtual reality check 26 Ebony Francis INTERVIEW 68 Ellen Nyqvist TAKE FIVE 28 Lucie McLaughlin and Eleanor Strong TAKE FIVE 70 puncturing power 30 Levi Naidu-Mitchell and Adam Patterson INTERVIEW 74 Mimi Forrest TAKE FIVE 32 Tom Coates TAKE FIVE 76 Alice Duranti INTERVIEW 34 ready to assemble 78 Christine Lew TAKE FIVE 38 Dejan Mrdja INTERVIEW 80 mind matters 40 Simona Sharafudinov TAKE FIVE 84 Lena Peters TAKE FIVE 42 Maria Macc INTERVIEW 86 from trash to treasure 44 Sally Gorham TAKE FIVE 90 Ruby Parker TAKE FIVE 92 Annya Mutia Suhardiv INTERVIEW 94 Sam Gull TAKE FIVE

96 one year on: Sarah Craske 98 MullenLowe NOVA Awards introduction

May and June 2017, when our end-of-year It is fantastic to have so much of the work shows went on display, was a febrile time in captured in this review. Over the years we hope the world. It was one year on from the Brexit these collections will provide an essential in- referendum, six months into Trump, the time sight into the changing preoccupations of one of an unwanted election in the UK… and so of the world’s great art and design institutions. on. It would have been strange indeed if the work from Central Saint Martins students did Professor Jeremy Till, not respond to these conditions. Sure enough, Head of Central Saint Martins the shows were the most outward-looking ever. Pro Vice-Chancellor, Our students used anger, humour, criticality, University of the Arts London sheer verve and much more to express them- selves in relation to this social and political landscape. At the same time, they made stuff which was technically adept and full of the virtue of beauty (a word that is sometimes lost in the noise).

The other marked trend was the ever-increasing merging and crossing of disciplinary boundaries. Thus the opening of the fine art show, full as it was of performance and impromptu events, took on the character of a carnival rather than a static exhibition. And in the design show, it was sometimes difficult to know which course a project belonged to. This is all to the good, reflecting as it does the hybridisation of action in the professional world beyond. instagram @csm_news come come, again designing no identity

Combining restrained visuals with blunt commands, this year’s Degree Show identity has been created by third-year BA Graphic Design students Lorna Searl and Joseph de Weijer. up and coming

What drew you to the design competition The identity is sparse but that doesn’t come for the Degree Show identity? necessarily make it easier to execute? LS: We’re both on the Moving Image pathway LS: Exactly. When they saw the design, everyone within our course and it means we don’t was saying “it’ll be super easy for you” but do traditional two-dimensional graphic because it’s so simple, everything has to design often. So, the degree show was a be perfect. good opportunity for us to work in that way – I was really eager but Joe was more reluctant. JdW: As soon as the brief was mentioned I just “you couldn’t Has working on the Degree Show had an thought that it sounded unfair to brand impact on your individual work? come, everyone under one image. encompass JdW: It’s ruined me! Now we’re both Helvetica LS: Then the question was how do you comm- Bold people unicate something by showing nothing? the entire LS: Definitely. I’ve been looking back over my We were stuck for a good while until we work now and think “what’s the point of that again stepped back and asked what’s the point Degree Show line?” or “what’s the point of this colour?” of advertising and branding? Why does it This design fits our personalities. We’re exist? Well, for people to come to the show. in one image, direct, honest. I’m quite serious, whereas I remember when we got the idea – it was Jo is more chatty. a split-second thing. so if you Initially, I was reticent to present it. I’d seen JdW: That’s what’s important with the design, the other groups who had created some there’s seriousness and humour at the beautiful work and all we’d done is type can’t show same time. “come” into Adobe Illustrator – I was feeling slightly guilty. everything You’re graduating this year, do you have then you plans for the future? Essentially, it’s the “no identity, identity” LS: We work well together so we’ll see how it which means you have to be sensitive have to show goes but we want to get straight out there. to every design choice and any kind of Working on the Degree Show hasn’t simply embellishment? nothing.” been a learning experience, it’s got real world JdW: Yes, it’s been a very careful operation impact and that’s been good for both of us. because it’s so easy to cross the line into It’s been a definite confidence boost. something needless. We stick to Helvetica Bold in lower case and with a bit of spacing it starts to define itself visually. come Show One, 24–28 May 2017.

From the slightest glimpse to the loudest roar, Show One celebrated the voices and visions that will forge the future of fine art.

COURSES FEATURED: BA Fine Art, MA Art and Science, MA Fine Art, MA Photography and MRes Art: Exhibition Studies, Moving Image, and Theory and Philosophy. show one alternate realities Ben MarlandandTimo Baier There is,of course, anin-builtsense of humourheretoo,asBaier describes: of theirveryeyes. tion ofVRtechnology,thedilapidationhappensaroundviewer,infront ruin paintedontheeveofbuilding’scompletion.Butwithintroduc- the ruin,specificallyapaintingofSirJohnSoane’sBankEnglandas ties past,”saysMarland.Theideawasinspiredbytheartistictraditionof “What remainsofaculturethroughtimeisitsart.Ittellsthestorysocie- and theonlyremnantsareworksofart. until theyareleftinapost-apocalypsewherehumansgone no otherasthebuildingsoonstartstoerodearounduser of their fellow students’ work. However, this virtual space is like in which theyarephysicallystanding,completewithversions visitors experienceaVirtual Reality(VR)replicaoftheroom students Ben Marland and Timo Baier’s collaborative work, into aRussiandollofsorts.SteppingMA Photography There’s an installation in Show One that turns the degree show is hereagain,almostgraspable.” somehow itfeelssimilar now.Theideaofnationalism and thatperiodsawalotofconflictsinEurope and appeared atthebeginningofrisenation states ruin inlate18thcenturyart,Baiersays“Romanticism current realities.Reflectingonthepopularity ofthe work canalsobeinterpretedasamechanism toescape of time’s march and our own insignificance, but the Here VRfunctionslikeamementomori,reminding us social experience. protagonist sees,makingtheinstallationashared will beofferedglasses,sotheycanseewhatthe The planforFutureRetrospectiveisthatspectators world withtherestofaudienceentirelycut-off. person wearingaheadsettransportedintotheirown isolating natureofthemediumwhichoftenleavesone A particularconcernforBaierandMarlandwasthe tant questioniswhatcanVRdothatpaintingcan’t?” us theserepresentativeabilitiesalready,sotheimpor- nology itselfandnotwhatitcangiveus.Paintinggave in theartsscenebutpeopleareinterestedtech- real world,”saysMarland,“VRhasmadeitsbigdebut make thingshappenthatwouldn’tbepossibleinthe collaboration. “We’regiventhepowerofgod,wecan Exploiting VR’scharacteristicshasbeencentraltothe but once you unplug ours it’s not about artoutlivingourselvesand make thatthetopicofourwork “I think it’s funny that we talk even perceivable anymore.”

come show one Lansky, thatispartlythepoint: it intosomethingalien,untrustworthyeven.For that, again,takesthefamiliarandtransforms the object.It’sadisorientingeffectandone the imagesoinsteadframemovesaround from planetstogymnasts,andhere-stabilises YouTube whereobjectsmovethroughtheframe, In afilminstallation,heusesfootagefoundon unknown. Lansky pushesandpullstheknowninto infamous opticalillusionTheAmbassadors), (with anhonourablementiongiventoHolbein’s ings onwallsintheNationalGalleryforexample tioned. Usingfamiliarimagery,capturingpaint- In hisplayfulwork,ourperceptionsareques- toss canturnusupsidedown.” ground onwhichtheystand,andasimplecoin the sunorbitsearth,windmillsrotate describes “helpusimaginearealityinwhich motion withinphotographicimagesto,ashe MA Photography,playswithperspectiveand the frictionofrealandunreal.BenLansky, as themediumitselfconfrontsviewerwith Reality isarecurringthemeinMAPhotography late it. It’s a single point perspective showingus one truthwhenactually as truth but we manipu- photography. We take it “We’re so used to there are many.”

Ben Lansky Nathaniel Faulkner equally thepreciouscollectivenatureofreality. the subjectivenatureofourlivedexperience but truth era.Theseworksservetoemphasiseboth The questioningoffactmayfeelderigeurinapost- Bruno Latour’swritingasakeyinfluence, construction ofascientificfact,”hesaysreferencing about thevalueofknowledge.“Ithastodowith juxtaposition iscentral,reflectinghisownquestions an almost-patheticinterior.ForFaulkner,thisstark At itsroot,DeepBlueisanimpressiveexteriorwith its seemingsentience. the perforatedsteelisinfactwhatgivesobject back, abundleofChristmaslightssello-tapedto is immediatelyunderminedbyalookaroundthe part-relic andpart-totem.Themachineaesthetic ture in black powder-coated steel, part-replica, purposes. SostandsDeepBlue, a monolithic sculp- societies interpret Western goods for ritualistic stories of cargo cults in Melanesia where native Deep BluecamefromFaulkner’sinterestinthe next areplicawallfromsceneinStarWars. beat chessmasterGarryKasparovin1997andthe the firstareplicaofIBM’sDeepBluecomputerthat presents twomonolithicsculpturesinShowOne: photography. NathanielFaulkner,BAFineArt, Questions oftruthandfictionaren’treservedfor at playduringtheconstruc- because theyaredisplayed rooted inourscience,that As thoughtheycomefrom hasavalueofitsown… There aresocialfactors world, even if that’s not “organising the natural a golden place. There’s no factthatisseparate as pulledoutoftruth. tion ofscientificfact from its fabrication.”

come show one sphere whiletheextremist oneisover-represented.” feminist projectisaglanceonreligiousminority lessvisibleinthepublic symbol dependingonwhoislooking,”shesays. “ThisEuropeanecumenical without faces,andtheambiguityofit:theycould beascaredorreassured women. “Idecidedtocreateoversizedmannequins toexpresstheirfunctions, While making,shewasstruckbythenotion of representingthreepowerful designed anoutfitandthreepaintingsforeach. in CopenhagenandtheReverendRoseHudson-Wilkin inLondon,Dorso leaders: theRabbiDelphineHorvilleurinParis, theImamahSherinKhankan selves.” InspiredbyinterviewssheconductedwiththreeEuropeanreligious project creates“pictorialspacesthatcanspeak,walk,presentforthem- Titled belongs toyoulive,write,think”. and thepossibilitytobeindependenthaveaplacewhich assertion that,“tohavearoomofone’sownistotheright explores Woolf’sARoomofOne’sOwn,takingtheauthor’s ing territories,memoriesandpeople”.HerDegreeShowwork poet andpainterinspiredbythewritingsofVirginiaWoolf,explor- BA FineArtstudentJulianaDorsodescribesherselfas“avisual 1 A Rabbi,AnImamah,ReverendandTheirWardrobes,Dorso’s Juliana Dorso ake k ta

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3 3 2 1 laughing andlisteningtoother’sstories. ship createswhilewearetogether,chatting, food andcigarettes.Thespacethatfriend- sunlight lyingdownwithfriendsanddrinks, The lovingspace– a fluidone. I paint:fullofcoloursandanideaharmony, of Mayotte.Thememorystillinspiresmewhile I hadasachildtogofree-divinginthelagoon pictorial practiceistraversedbythechance I stronglybelievenow,yearslater,thatmy Free-diving inthelagoonofMayotte– Gordon SquareandRegent’sPark. the startingpoint,thenRodmell,Charleston, are strongspacesforme.Richmondwas nonfictional Woolfianplaces.Woolf’shouses I movedtoLondonexplorefictionaland that Ikeptwithmeallthetime.Yearslater, book wasakindofnomadicspaceforme world. AsIusedtomovealot,thissmall deeply transformedthewaythatIsee I readMrsDallowaywhenwasnineandit place thatinspiredmewasafictionalone. The LondonofVirginia Woolf –Thefirst 4

Anywhere underthe

5 4 www.julianadorso.com their own. own” andcreateforothersakindofroom paper whereIcanexpressmy“roomofone’s my favourite space is the blank canvas or A Room of One’s Own next tothesea–itwasabeautifulmoment. San Cipriano was a marvellous time for me, and ChiaraCaterinatheinhabitantsof plus thegenerosityofCarolineHouben beauty ofthehouseandlandscape, I could see the sea from my window. The my residencyatFondationeAurelioPetroni, when I am in a different country. During place. AttheseasideIfeelathome,even watching theskylineIknowamatright is animportantlandmarkforme.WhileIam Brittany whereIusedtogoeverysummer Skyline oftheOcean–Theskylinein 5 –

Last butnotleast,

come show one connecting motherhoodwithchild’splayand Japaneseanimation. MA FineArtstudentMichelleYasudadiscusses herfinalpieceAPlaySpace Michelle Yasuda

amotherthrough art” “I decidedtobecome

come show one 1 itself. Aparadoxisposed: suchcopiesare reproduction, ratherthan theoriginalobject accumulated largelyfromthehistoryofits an industrialmould.Fountain’svaluehas original itselfwasaduplicate,formedfrom to speakoftheoriginalisproblematic.The have takenontheroleoforiginal,yet through reproduction.Itssubsequentcopies As aresult,Fountaincanonlybewitnessed conception, before vanishingcompletely. was supposedlygivenawaysoonafterits what weconsiderauthentic.Thepiece Duchamp’s Fountain, MarcelDuchamp–Isee Here, hesharesfiveobjectsthatconfronttraditionalnotionsofauthenticity. not onlyquestioningtheirstatusbutalsoroleinfineartpractice. The intertwinednotionsofthecopyandauthenticityarebroughttofore, its transferralthroughmediumsobserving“bothwitheringandrevival”. approaches theoriginalassourceofalonglineage,andthenfollows solely theobjectitself”.Combiningpaintingwith3Dscanning,Heygate as heexplains“toexplorethearchaeologyofanobject’simageratherthan Realf Heygate,BAFineArt,exploresthereproductionofartefacts,aiming, 1 Realf Heygate Fountain asanexercisein ake k ta

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2 2 hijacked aspropaganda ofWesterndefiance. arch, ahistoricsymbol oftriumph,ispossibly reproductions inlieuofsuchruins.Herethe has emergedonthevalidityofhigh-tech was destroyedbyISISin2015.Adebate Trafalgar square.The1,800yearoldarch Palmyra’s archwaserectedinLondon’s Palmyra – InApril2016,areplicaof of almostcultvalue. of non-artstatusispropelledtoanartefact art institutions.Whatwasonceanobject ever was.Theyrestonplinthsintheworld’s worth significantlymorethantheoriginal

3 3 forever distantpresence oftheoriginal tive encounter.Moreover, thelingeringbut allows forafarmoreinteractiveandinforma - the replica’sethicalimpact.Thereproduction would besignificantlymoredamagingthan changes inconditions,viewingtheoriginal deceive. Withitsextremevulnerabilityto a reproductiondoesnotactivelyseekto copy, thusrenderingneitherauthentic.Such served, butbecomereplacedbytheperfect further copies.Theoriginalmaynotbepre- that thefirstreplicawouldmakewayfor Lascaux 2in1983,JeanBaudrillardquipped ence reproduced.Aftertheopeningof exact temperature,airpressureandambi- artists haveconstructedafacsimilewith the originalsite,laserimagingandskilled prehistoric caveart.Locatedatthefootof was opened:areplicaofFrance’scelebrated Lascaux 4–InDecember2016, the catastropheofreal. Here weriskelectingexileofthevirtualover tions: ahistoricalmemorythroughsimulacra. is acollectiveheritagefoundedonreproduc- education ofthelostandfragile.Thedanger tech resurrectioncanbeinvaluableinthe Isolated andconsideredincidentsofhigh- history asanyotherculture’sencounter. Palmyra isasessentialamarkofhuman reality oficonoclasm.Sadly,theattackon The reproductioncouldbesaidtodenythe 4 5 4 www.realfheygate.com the viralimageasdeity? a cyber-auraaccumulates.Arewewitnessing with “shares”and“likes”ofthedigitaldevotee, a religiousidol.Aspopularimagespirals trivial, perhapstheyreturntothestatusof embedded inourdailyrituals.Ononehand in Instagram’shistory.Theseimagesare This quicklybecamethemost-likedimage on Instagramshewasexpectingtwins. bytes. InFebruary,Beyoncéannounced economy ofinfinitelyreproduciblebitsand truly authenticimagecanexistonline,inan Social media–Ioftenwonderwhethera inauthentic? aesthetic commodificationrendertheobject of itsoriginaluses.Doessuchaprocess ism. Theobjectbecomesdivorcedfromany approximates theformalqualitiesofmodern- Primitive artisoftenjudgedbyhowcloseit is lostasitappropriatedbywesternart. often madewithsignificantritualvaluewhich to theRenaissance.Primitiveartefactsare as muchamotifofmodernarttheMadonna “Primitive” Art status. duction couldfurtherheightenitssacred rate glorificationthroughmeticulousrepro- perhaps reinforcesitscultvalue.Suchelabo- 5 – Theafricanmaskbecame

come show one history rest the is is of fifteen. Having neverdoneaself-portraitbefore,Fordoutdoeshimselfwithtotal and posesfromfamousworksbutfinishingeveryfigurewithhisownface. Art, who’screatedaseriesoffigurativepaintings,eachonetakingmotifs surface. OneartistmakingtheconnectionexplicitisAaronFord,BAFine Sometimes theseconnectionsareburieddeep,othertimestheylieonthe to thoseofthepast. in reality, theartpracticesoftomorrowareforgedinrelation the new;aplaceforcreativeinnovation,iconoclasmeven.But It’s easy to characterise a graduating art show as a moment for Aaron Ford that line.” tongue-in-cheek. Ithinkit’simportanttostraddle is to be ironic about everything. Everything is are burdened.Oryoucangotheotherway which touch itbecauseit’sitsownsacredthing.You in thehoursofresearch,butthennotwantto he explains,“Icoulddefermyselftohistory,put is hereverentialormocking?“Itcanonlybeboth,” And so,withthisalmost-altarpiecetoarthistory, disciplines: painting. analytical approachbutalsothemostcanonicalof to hispractice,heembracednotonlyanhistorically own Warburgian German art historian.” Returning I candivedeepintothisarea.Youbecomeyour archives, he replies, “a general acceptance that Ford whathegainedduringthattimeamongthe Institute embeddedinarthistoryresearch.Asking work cametotheforeduringayearatWarburg and TiepolotoJohnMartin.Hisinterestinhistoric and detailsfromotherpaintings,Boucher Each compositionisessentiallyacollageoffigures and theviewers.Thosethree “It’s a snake eating its tail. joke in there somewhere.” things arealwayschasing my relationshiptomaking players: myself,thework my work.Therearethree each other and there’s a I’m making work about

come show one stretched andfolded. usual canvassurface,turningitintomaterial tobe you’ve neverseenbefore.Hefreespaintfrom its found objects,clothesandfurniturewithpaintlike In MAFineArt,JamesTailor’sinstallationcombines The pastinfluencesthepresentinquieterwaystoo. This IsAPrincessWoman”. Pas UnePipewiththephrase“ThisIsNotA Gogh’s chairinsequinsandMagritte’sCeciN’est language ofdomesticcraft,embroideringVan Garden ofEden.Inanother,sheintroducesthe tensing herbicepwithagiganticserpentfromthe from JohnCurrin,shestandstoplessanddefiant, humour. Inonepainting,appropriatingapose ments but,atthesametime,theyarelacedwith Chapman’s worksundoubtedlymakepoliticalstate- Another BAFineArtstudentremakingthehistory the inherenttensioninthisstance: artists whowereallmen.Herresearchuncovered tive, Chapmantakesheraestheticinspirationfrom Though workingresolutelyfromafeministperspec- word asheralteregoFrogwoman. of whichsheperformshumorous,barbedspoken them insideouttopresentafeministvisioninfront from theworkoffamousmaleartistsandturns painting withperformance,Chapmantakesmotifs of paintingisHayleyJaneChapman.Combining “It was such a strange struggle, “When I first started painting, of seeingbehindthepaintings, position, art has moved on.” works fortheircontext,but, what Icoulddotechnically, going throughtheprocess from amoderndayfemale points ofview. Therewas from sexist,misogynistic some ofthemarecoming it wasaboutfiguringout what Icoulddo I needed to find a new language.” I canstillappreciatethe but onceIfiguredout a verystrongchange;

Hayley JaneChapman James Tailor Matteo Valerio their ownterms. only proveshowcontemporaryartistsmeet iton weighty, cumbersomeeven,theworkonshow here nod tothepast.Thoughhistoryofartmay seem offers notonlyaglimpseatthefuture,butalso a Whether personalorpolitical,theworkinShow One council estateinwhichhelives. the framesfromwoodscavengedLondon natural hand-dyeingmethodsaswellbuilding his residencyatFondazioneZegna,Valerioused of painting.Combiningalpacaandcottonsfrom frames withtextile,Valerioworksthelanguage of MatteoValerio,MAFineArt.Spanningwooden The meaningofmaterialloomslargeinthework rooted inatiltorflick. an arrangementoflegsandarmswithemotion vein, the viewer finds anthropomorphism here, eager tocreateworkthatisaccessible.Inthis Tailor wearshisarthistoricalreferenceslightly, Black Squareof1915. mounted uphighinthegalleryasanodtoMalevich’s and eagle-eyedviewersmayspotablacksquare scenes inclassicalworksbythelikesofVelazquez this installation,HeldMyHand,hereferencesdeath composed inspaceratherthanoncanvas.Andfor and paint.Hestillthinksofhisworkaspainting, heavily tothematerialsofpaintings,namelywood Though inthree-dimensions,Tailor’sworkspeaks hand. Ineverfeltthatwaspossiblebefore.” To holdhishand.Itwasthefirsttimeheheldmy “it wasthefirsttimeIgottoconnectwithmydad. and sorrowbutformeitwasn’tlikethat,”hesays, honest andopenconversation.“Deathcanbegrief final hoursofhisfather’slife,thetwohadtheirfirst Though therelationshiphadbeenstrained,in His workisaresponsetothedeathofhisfather. way. It’salwaysbeenthefoundation,”hesays. ing… Painthasalwaysbeeninmyworksome to findithaddriedintoaskin.“Itwassointerest- Having leftpaintinaTupperwaretub,hereturned

come show one “My workisverymuchaboutthe relates tosocialmedia,andthis black bodypolitic,andhowit idea ofcapturing images...”

Ebony Francis www.diaryofablacktree.london retrieve herchosenmaterial. home videosandblackcinema,spendinghours unravellingthetapesto black bodies.EbonyusedanarrayofVHStapes tocreateherwork,including used tocaptureviolenceinthemodernworld, particularlyassaultsagainst footage, areferencetosmartphonesbeingthemostcommoncameradevice by EbonyFrancis,MAPhotography.TheworkutilisesVHStapeandiPhone Exposure: BetweenBeingandTimeisavideoinstallationofperformance

come show one 1 fierce women,livingor dead,realorimagined.Hereisasmallselection.” this, ofcoursewehave beeninfluencedandmotivatedbyaplethora of and identityisbeingacceptedasanincreasingly fluidforce.Havingsaid “It feelsreductivetoselectartistsbasedon theirgenderwhen inspirational femaleperformersanditbegins withan(excellent)caveat. mance withhonest,expressivevoices.We asked themtosharefive bedroom-studio. Theduoconnectlow-fi,actively non-professional,perfor- album BA FineArtduoLucieMcLaughlinandEleanor Strongpresenttheirdebut and EleanorStrong Lucie McLaughlin Sad Partyinaspacetheyassembled,representation oftheir ake k ta

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3 3 2 1 project providedby Electra. music. Therethisfor archive isonline an very excitingplaceforsoundartand a exhibition, theycollaboratedcreating For ments betweenortowardsartandmusic. Gordon (of SonicYouth)enactvividexperi- We’ve watchedandlistenedtoKoether Jutta KoetherandKimGordon– definitely winning. and feelslikeasurvivalorstruggle. They’re across galleryfloors.Verycool,confident being rippedoffandhighheelsclacking objects, thingsbeingbuiltorbroken,clothes of sound,theirownvoices,crashingwaves, stuff. Sometimesperformingwithmusic,lots Fox andEllenFreed.Twogals,fighting New Noveta–Performanceartduo,Keira rapturous pleasure. her poetrytoaudienceswhositorstandin sculpture, drawingandonlineperforms many disciplinesincludingvideoinstallation, navigated ourway.Goringworksacross and darklybeautifulmoralcompassaswe provided uswithanemotionallycharged and poet.ReadingherbookTheZoom Penny Goring is aLondon-basedartist Her Noise,a2005SouthLondonGallery 4 click me me

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and electrifyingexperience. identity politics.Allshapeatrulyaffecting gestures pushbeyondtheboundariesof unfixed. Thepoeticsofherperformative subject ofblacknessbecomesurgentand the spacewithbothrageandlove.The black box,bathingitinredlight–energising Lewis andherco-performerstransformthe Minor Matter intheTateModern’sTanks. Ligia Lewis–WesawLewis’mesmerising lery contextthattendstofeelalittledead. which isstrikingwithinthecommercialgal- techno, togiveusgunk,grungeandmatter, Lantz hasusedsoundandmusic,inadirty Gallery inLondonthisyearaspartofCondo. and sculpturalinstallationonshowatRodeo Franziska Lantz–WelovedLantz’ssound come show one and Adam Patterson and Adam Levi Naidu-Mitchell www.adampatterson.co.uk mance, danceandmusic. Indian heritagesandcombiningelementsof masquerade,costume,perfor- carnival experienceviathecreationofaMas band,drawingontheirWest Levi Naidu-MitchellandAdamPatterson.Their workincorporatesafull-scale Hard Times:ShellDownDeStreetisacollaborationbetweenBAFineArt’s “A carnivalisanephemeral becapturedorcontained” moment thatcan’treally

come show one 1 have” sohereheshares fivefellowobjectsofcamp: aspirations tobesomethingmorethanthey are,thatwantmorethanthey the uncannyandcamp,Coatestalksabout his workas“objectswhichhave playful andextraordinarilyodd–housesafunctioning shower.Inspiredby limbs finishedwithfaucets,toiletbrushesand looseats,hiswork–though film intoabathroomcometolife.Abrightpink amoebicsculpturewith Tom Coates,BAFineArt,hastransformedthe unassumingmaterialofcling Tom Coates 2 ake k ta

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3 3 2 1 a pretzelwithweight. the exuberanceofmusical theatre.Itistruly the scaleofherdelusion,passionand ode toWestCovina,California.Itrepresents our protagonisttotheclimaxofhermusical rom-com stereotype),thepretzelcarries Girlfriend (amusicaldeconstructionofa of RebeccaBloom’sexemplaryCrazyEx- Girlfriend –Featuredinthepilotepisode The giantpretzelfromCrazyEx- can allfindsomeinspirationinit. and dazzlessimultaneouslyIthinkwe (every dishneedsagoodentrance),itbaffles it literallyenterstheroombeforehedoes Girls andhasthehairofarealheartthrob; interest inTetsuyaNakashima’sKamikaze be syntheticIthinkitcounts.Ryujiisthelove an objectbutgiventheamountofitthatmust Ryuji’s Hair, Kamikaze – NotexactlyGirls could everdo. teenage bedroomsbetterthanrealism is itsownworld,whichIthinkrepresents occupants’ outfitsmatchtoo.Everyroom object intheroommatchesandoften ridiculous andfearless.Usuallyevery the pinnacleofinteriordesign;it’sangsty, Teen ApocalypseTrilogyisprettymuch ating schemeinGreggAraki’sfamous Gregg Araki’s wallpaper –Thedecor- 4

5 5 4 of – ThewritersKiller Chair from Doctor Who www.tomcoatesart.com scene motivatesmetogotheextramile. church whilethepriestwasdistracted, Divine inMultipleManiacs.Filmedareal used herattiretoperforma“rosaryjob”on outfits. Herpersonahititspeakwhenshe gious tokensanddressinginoldHalloween whore”, Minkwasknownforpilingonreli- reckless abandon.Nicknamed“thereligious romping throughblasphemousactswith gang ofundergroundfilmmakers–was the Pope,MinkStole–oneofJohnWaters’ Catholicism. ButbeforeMadonnatickedoff background of such high drama that is carry campsignificancecomingfromthe have beensomewhatdoomed/destinedto Mink Stole’s Rosary – RosarybeadsBead ing ambitionmatchedonlybyitsabsurdity. a hugeinspirationtome,alongwithitsunfail- the uncannycreepinessinfamiliarobjectsis Who’s (budget-driven)ingenuitybringingout killer inflatablechairismyfavourite,Doctor much anythingelsemadeofplastic.The to deadlydolls,homicidalfurnitureandpretty quickly expandingfromkillermannequins hit ahomerunwiththe“killerplastic”theme, Doctor Whointhe70sclearlyfeltthey’d

come show one assemble ready to Bence MagyarlakiandDivineSouthgateSmith includes othergraduating studentsfromthecollege. the twoarepartofcollective ()Parentheseswhich Interested inthegrey areas betweenpractices, and SouthgateSmithbothenjoy: It isthisbundleofcontradictionsthatMagyarlaki only activatedthroughthevisitor’sengagement. Monumental yetintimate,TowardsFragmentsis in andthroughthestructuretohearspeak. Magyarlaki actsasmediator,drawingthevisitor inside issubtle,whisperedanddeconstructed.” actually quiteloudandbrutalbutwhathappens tive oftheactspeechaspossible.They’re interaction. Wetriedtomaketheshapesassugges- inside,” saysMagyarlaki,“itcallstosomekindof ture isemptyandnon-functionalunlessyoustep reminiscent ofagramophonetrumpet.“Thestruc- again anditslegsarmsareelegantlytapered structure looks,atablink,ratherBrutalistbutlook Built inwoodandpaintedgrey,theseven-metre created oneofthelargeststructuresinShowOne. harnessing thisintangiblethingthetwohave The voiceistheirsubject,andyetsomehowthrough of aparticularviewpointandwereleftwithsound. removed theimageandframetodestroysense but realengagement.Beginningwithfilm,they kind ofexperience,notpassivespectatorship the duowantedtocreateworkthatoffersadifferent in collaborationsincethestartoftheirfinalyear, Southgate Smith,isinfactaninstrument.Working built byBAFineArt’sBenceMagyarlakiandDivine One ofthelargeststructures,TowardsFragments, of towers. demarcations ofgalleryspacetothetallest forms andstructures,fromtheslightest several studentshavecreatedrooms,plat- imagined arebroughtintobeing.Thisyear, or paint,worldsthathadpreviouslybeen Whether indanceordigitalcode,performance the graduating artists’ ideas made manifest. Each year, ShowOnefillsthebuildingwith “It’s not theatre, it’s not sound installationand performance, it’s not it’s not architecture, but it’s somewhere in between these.”

come show one is aboutshowmanship: rene intomakeshiftsnow.Atitsroot,theirpractice is completewithdeadpanelveswhogratepolysty- unglamorous ofChristmassets;Strudwick’svision version ofAChristmasCarol.Inmaybethemost performs, asAIDANSTRUDWICK,inamusical a shed.Here,BAFineArt’sAidanStrudwick tree, asunkenupholsteredchair,screenand platform madefromOSBholdsadeadChristmas stage onwhichtheartistperforms.Acircular Other structuresaremorefamiliar,actingasa creative collaboration. in situfortheirbandperformancesbutalso informal throughout theday),withMcLaughlinandStrong by rugsandsheercurtains(thatopenclose Within thegallery,aroomiscreated,demarcated they’ve beenworking. to thegalleryfrombedroom-studioinwhich brought chairs,akeyboardandmicrophones sculptures andMcLaughlin’sbooks,thetwo their artisticpractices.AlongwithStrong’s into this collaboration could,andshould,bebrought music intheirsparetime,butsoonrealisedthat of averydifferenttype.Thetwostartedmaking have alsocreatedaspaceforperformance,albeit BA FineArtduoEleanorStrongandLucieMcLaughlin ingly never-endingsupplyofgratedpolystyrene. on Santa’sknee,disappointinggiftsandaseem- in conversation,andsubjectingthemtoasit-down stage becomesSanta’sGrotto,engagingvisitors ing aversionofAChristmasCarol,Strudwick’s the characterandaudience.Whennotperform- tional. Theirworkreliesonadialoguebetween (echoed inhisstagefit-out)butit’salsoconfronta- Strudwick’s performanceishumorousandpathetic work, but shouting so you’ll It’s about not having good clown really. It’s someone a lot.Mypersonaisbad be heard.Perhaps,some- “I work with failure quite times, that’s enough?” having noskillsatall. craving attentionbut

Eleanor StrongandLucie McLaughlin Aidan Strudwick Sam Shaw moment ratherthanthe structurethatholdsit. soundscape, meaning isfoundinthefleeting But whetherperformanceorconversation simply the visitorknowthey’resteppingintoanew space. The constructiondefinesandfacilitates,letting crucial isthattheyareframesforthework itself. Across allthesehabitatsandplatforms,what is individual potential,ourdutytoimproveourselves. Shaw’s philosophicalproposalcelebratingour As awork-in-progress,thestructurestandsfor a metaphor. structure hasadistinctadhocnaturewhichoffers With bluetarpaulincreatingthewalls,Shaw’s with him. viewers toenterintoaphilosophicaldialogue elaborate in a series of works by Shaw which asked by atentandflagatitsheights.Thisisthemost structures incorporatingasittingroomandcrowned Sam Shaw,BAFineArt,hasbuiltoneofthelargest creating living/workingspacewithinShowOne. McLaughlin andStrongaren’ttheonlystudents engagement. keep theirspaceintentionallypermeableenforcing performance, anartifice,McLaughlinandStrong raised stagetodemarcatetheworkasatheatrical says McLaughlin.WhereStrudwickreliesonthe happened behindcloseddoors: and moreaboutsharingsomethingthatpreviously Interestingly, thisislessaboutaperformance, We’re showing people what “It’s about expanding and looks like. We’re bringing ok withthat,everything our collaborativespace contracting, andbeing our privatespaceinto changes, soyouneed “We are in the open. a public gallery,” to let it go”.

come show one www.dejanmrdja.net and sharedconsciousness. uses drawingandsoundtobringpeopletogether inmomentsofphysicalaction MA FineArtstudentDejanMrdja’sexperimental installationChasingSynchrony2.0 Dejan Mrdja

is notexhibiting adrawing, “the funpartofdrawing but thedrawing itself”

come show one 1 Here, Sharafudinovshares fivethingsthatinspireherpractice: spaces invitingviewerstoconsiderthenature ofsubjectivity. and drawingintooneprocessofimage-making, shecreatesmythical are questioned.Combiningperformance,sculpture, video,painting identity sitewheresocialobsessionsandidealised systemsofvalue UK atanearlyage,Sharafudinovbuildsher practicearoundanexiled and durationalperformance.BorninLithuania andadoptedbythe Simona Sharafudinov,MAPhotography,presents Father,asculpture Simona Sharafudinov 2 ake k ta

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3 5 3 2 1 all seemingeyes. overcrowding, theabsurdity oftowersand of pastandfutureevokealienation, and structuresin1970sincorporatefeelings who designedimaginaryandmythicalcities and poignant,theworkof“paperarchitects” “paper architects”) –Beautiful,haunting Alexander BrodskyandIlyaUtskin(Soviet in the1970s. femmes/women wereinthedomesticspace space hommes/menareasaffected body ispost-gender.InthePost-modern infinite digitalspaceandthefinitephysical tered themin1999.Thetensionbetween move measdeeplythefirsttimeIencoun- to theseworkstimeandagain.Theystill Like ahomeless,displacedbody,Ireturn Louise Bourgeois,FemmeMaisonworks– music sounds. make thosethatencounterthemfeelasthis of art.PopBaroque,Iwantmyworksto rage, hopelessness,anddespairintoworks showing mehowtotransformfeelingsof ANOHNI hasinspiredmeforoveradecade as Antony &TheJohnsons)–Pureenergy, The musicof ANOHNI (formerlyworking

5 4 sharafudinov.com and artimitateslife. The FutureisHere…Whenlifeimitatesart and Trump InternationalHotel,LasVegas – The Monolithfrom2001: A SpaceOdyssey vertical andthehorizontallinesmeet. the significance of photography. A home where me understandthemeaningofhomeand personal andpoliticalfeelingsmade This bookhelpedmegiveformtomyown ment intheever-changingtimeandspace. a mirrortohumanexperienceofdisplace- political tocreateasensorialexperienceand by JohnBerger–Fusingthepersonaland And OurFaces,MyHeart,BriefasPhotos

come show one “I wasthinking about what it meanstobehuman in the 21stCentury” www.mariamacc.co.uk material toexplorethephysicalpossibilities ofbeing. and SciencepieceBeyondtheFabricacombinesorganicindustrial considers themesofsurgery,donationand modification. HerfinalMAArt Investigating whatitmeanstobehumanin the 21stcentury,MariaMacc Maria Macc

come show one 1 Here, shesharessome oftheimportantinfluencesonherwork: control oftheartistand,byimplication,that ofmanagersandpoliticians. between artistandviewer,Gorhamquestions theauthorshipandsovereign patterns astheywish.Inthiscollaboration,or perhapsthatshouldbefriction the staircases.Viewersareinvitedtoreconfigure thedifferentshapesand make upViralcanbeseenallacrosstheCollege,over wallsandup the reductiveaspectsofMinimalism.Themagnetic geometricshapeswhich piece borrowsfromthegeometricvisualvocabulary ofConstructivismand Characterised byasenseofplayfulnessSally Gorham’sfinalBAFineArt Sally Gorham ake k ta

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3 3 2 1 possible realisation”. I agree. space forresearchandactionswhen space outsidethemuseum“isaprivileged museum backinitsplace”andthatpublic Buren proposesthat“wemustputthe Viral, likeBuren’swork,wasmadeinsitu. been thebiggestinfluenceonmywork. Court Roadtubestation,hehasprobably seen outsidepublicationsisatTottenham While theonlyDanielBurenworkIhave in asimilarlyironicway. ed thatIcouldusemyloveofthegeometric and hisessays,wereabiginfluence.Irealis- living inageometricallydividedsocialspace, tary onthewayinwhichweareincreasingly visual languagetomakeanironiccommen- in London,whereheappropriatesgeometric Peter Halley’s recentshowatModernArt the ideathatartcouldhaveasocialpurpose. for aWorkers’Clubseemedtheepitomeof The reconstructionofRodchenko’sdesign Malevich andfellowConstructivistartists. West. ItwasamazingtoseeworkbyTatlin, Gallery’s recentloansforexhibitionsinthe Art inMoscowafewyearsago,beforethe I visitedtheTretyakov GalleryofModern 4

5 4 www.sallygorham.com his 80thbirthday. attended theBarbicanconcertscelebrating in thestructureofhiscompositionswhenwe use ofrepetitionandsmallincrementalchange music. IstartedtothinkaboutSteve Reich’s My husbandandIaregreatfansofMinimalist My inspirationdoesn’tjustcomefromart. and pushedmyselftoscaleupmywork. I cancarryonmakingworkwithmagnets”, bricks. Ithought“ifshecanuseLegobricks, showed aworkshehadmadeusingLego pushed hertotryoutnewideas.She aints of working withinasetofrulesandconstr- Begum. Shedescribedhowthechallenge Earlier thisyearIattendedatalkbyRana 5

come

come, again

Show Two, 21–25 June 2017.

Crossing disciplines, Show Two spans from design and fashion to drama and cultural enterprise. Projects on show – whether provocation, performance or product – presented a future in the making.

CULTURE AND ENTERPRISE: BA Culture, Criticism and Curation, MA Innovation Management

DRAMA AND PERFORMANCE: BA Performance Design and Practice, MA Performance Design and Practice, MA Character Animation

FASHION: BA Fashion, BA Fashion Communication, Graduate Diploma in Fashion

GRAPHIC COMMUNICATION DESIGN: BA Graphic Design, MA Communication Design

JEWELLERY AND TEXTILES: BA Jewellery Design, BA Textile Design, MA Material Futures

PRODUCT, CERAMIC & INDUSTRIAL DESIGN: BA Ceramic Design, BA Product Design, MA Design: (Ceramics); MA Design: (Furniture); MA Design: (Jewellery), MA Industrial Design

SPATIAL PRACTICES: BA Architecture, MA ARCH Architecture, MA Architecture: Spaces and Objects, MA Narrative Environments show two borders beyond Lucy Ganley Kaye Toland collaboration andconversation. of theprojectsinShowTwo activelypushforthepowerof In acurrentclimatefocusedonbordersandboundaries,many Co-operative Communities. parts: WallMakers/WallBreakers,EmpathyCityand partite conflictresolutionprocess,thegamehasthree and pernicious.StructuredaroundToland’sowntri- how invisibleculturalbarriersbecomeentrenched the notions ofwall-buildingandbreaking,exposing “a conflictresolutionboardgame”,itworksaround Product Design.HerMakeItorBreakisbilledas ramifications ofisolationismisKayeTolandfromBA One ofthestudentsmostexplicitlydealingwith She wasoverwhelmedbytheresponse: life asaprisonerintheUKtoday. she askedquestions,hopingtogainaninsightinto making contactwithcurrentinmates.Throughletters, diaries, volunteeringontheMakerightprojectand the historyofincarceration,visitingprisons,reading experience ofprisonersandbeganresearching Jewellery Designstudentbecameinterestedinthe central toLucyGanley’sfinalcollection.TheBA Working acrossdivisionandsegregationisalso learned inBelfastaboutbarrier “In light of Brexit, my aim was even whenthewalliseventu- building andsegregation to sharethelessonswehave they’ll talk about details that wanted somebody to listen.” “They were so forthcoming. They weresoopenandjust how, onceyoubuildawall, It wassuchaneyeopener. colours, texturesandhow you’d never considered – you’ll get five pages. And If youaskfivequestions, those thingsaffectthem. ally gone,thedividewill always be there.”

come, again come, show two of boundaries,bothpersonalandnational. national difference,butalsoatimelyreflection Beyond Bordersisanon-verbalcelebrationof cards witheverydaystoriesofculturalstereotyping. the ground.Finally,viewersareofferedmessage the piecedissolvesuntiltapesareliftedfrom by one,dancersdropoutoftheperformanceand ment inspiredbydifferentculturalgestures.One setting, thedancebegins,withalanguageofmove- sented withinthedancetroupe.Inthisabstract action, reflectingalsotheflagsofnationsrepre- tapes markoutonthegroundboundariesof a dancepieceperformedinpublicspace.Coloured Nozomi Koseki,MANarrativeEnvironments,presents borders. an efforttoconnectnotacrosssocialbutnational Two, thereareprojectsthatavoidlanguagein fest, abridgebuiltwithwords.ElsewhereinShow Ganley’s collectionisaconversationmademani- of thepulltofindhumanitywithinsystem. tal detail.Ganley’sworkisaprescientreminder access toeducationortherecollectionofinciden- collection, viewerswillfindtheappreciationof always dwellonthenegative.Lookingacross is goodbusiness”saysone–thequotationsdon’t impulse nowattheheartofmanyprisons–“Prison Although therearestatementsaboutthecommercial by theinmatesthemselves. Ganley likestheideathatthesecouldbemade out ofeverydaymaterialsaccessibleinprison, – you’rewearingsomebodyelse’swords.”Made I seethemlikeaprotestbadge,showofsolidarity with quotesemblazonedacrossthem.“Iguess paper andthread,theyarebeautiful,fragileobjects about creatingacollectionofbadges.Madefrom Wanting tomaketheinvisiblevisible,Ganleyset the differenceisvaluable. Our culturalbackgrounds “I really like the fact that people aredifferent, make usinteresting to each other.”

Lucy Ganley Nozomi Koseki and humanity,flourishesintheopen. Creative Unionsinitiative,weareremindedthatcreativity, be thatsocial,politicalorsimplydisciplinary. Echoingour power oftheartsanddesigntocrossborderboundary– these disparateprojects,ultimatelyoneisremindedofthe Although itmightinitiallybehardtoconnectthethreadacross rather thanendresults.” the importanceofcommunication,discussionanddialogue Rehearsal Dinner,asHannahAdlideexplains,“pointstowards territories andwhilethereisnopoliticalaspecttothesetup place inwhichitsits.Butthenameisalsosuggestiveofborder embassy, reflectingaspaceof–andyetdifferencefromthe Rehearsal Dinner wasoriginallyinspiredbythemetaphorofan I hadtroublewiththat.”ViewersofKoseki’sBeyondBorders how politicsinfluencedherlifeandthewaypeopletreatedher. done anythingwrong,”recallsKoseki,“butitwassurprising right aftertheGulfWar–shehadanIraqifriend.“Shehadn’t This intereststemsfromachildhoodexperience,at10yearsold– based onproduct,”saysstudentRosieWoodhouse, “The wholepointisthatwe’renotsettingupanexhibitionthat’s photography andthemovementofpeople. be themedondiversesubjectssuchaslanguage,translation, building towardsafinal,closingevent,theconversationswill public welcometojoin.Meantasaseriesofrehearsaldinners over lunchanddinnerwithinvitedguestsmembersofthe Called a part-diningroom,part-theatre,part-seminarinShowTwo. Students fromBACulture,CriticismandCurationhaveinstalled cultural context. tape asiftohighlightthatnoonecanescapetheirnationaland are themselves enveloped by it, marked out on the ground in Rehearsal Dinner,thespaceishosttwodiscussions “we’re reflecting on our position in the institution – it’s about We’re working through them process andworkshop. in a collective way.”

come, again come, show two 1 Here, Paroussosshares fiveinspirationalmusicmakers: and organicgrowthof anidea.” remix themtocreatenew meaning,likeacollage,constantdevelopment together relicsofpastperformances,installation andsoundpieces, “I aminterestedinhowfilmandsoundcan be usedasamediumtobring music-making. mental Foleytechniques,Paroussosembraces spontaneousandcommunal instruments madefromfoundmaterialsalongside tapeloopsandexperi- nary soundartistanddesignerwhoperforms asBambooMustard.With Adam Paroussos,BAPerformanceDesignand Practice,isaninterdiscipli- Adam Paroussos ake k ta 2

e v i f 3 3 2 1 4 their craft,turningany foundmaterialinto Waste Company , I’vebeeninfluenced by ject last year withJoeRushandthe ideas tocreatenewmeanings.Afterapro- ments andrelicsofpre-existingmaterial my work.Ithinkitcomesfromreusingfrag- Post-apocalyptic aestheticsoftenappearin ate themusicmore,enhancingexperience. helps theaudienceunderstandandappreci- how eachsoundismade.Insomewaysit the factthathislivesetupvisuallyexposes of themulti-instrumentmusicmaking.Ilike oped aninterestingwaytoshowtheprocess performance andJacobCollierhasdevel- I’m drawntotheaudiovisualaspectofmusic moment, sothemorespontaneousbetter! audience joinin.Iaimforittobeallinthe I likethecommunalaspectofhaving carry thisideawithinmyownperformances; no hierarchyintermsofmusicalskill.Itryto bers interactingwiththeinstruments, instruments. Theyoftenhadaudiencemem- be fortheaudiencebyusingunconventional changing theperspectiveofwhatmusiccan a greatbalancebetweensculptureandsound, Bamboo Mustardperformances.They found influenced theinteractiveaspectofmy ely I thinktheBaschetBrothershavedefinit- Mutoid

5 4 5 a wholemythology. as acharacter,oraninstrument,andcreate to carrythisideaofembodyingthemusic tume andset.WithBambooMustard,Itry different worldsintermsofmovement,cos- mance, soitcangobeyondthemusicinto He bringsatheatricalitytomusicperfor- Kate Bushformanyoftheirperformances. Lindsay KemptrainedDavidBowieand of performanceandinstallation. formats whichcanbranchintootherforms mental approacheswithanalogueaudio performativity andvisuallayertoexperi- a tactilematerial.There’saninteresting ways hasinfluencedhowIusesoundas such asvinylandtapeinunconventional making. Thewayheusesmusicformats DIY andexperimentalapproachtosound- I’ve learntalotfromGraham Dunning’s be creative,ratherthanasterilewhitecube. create anenvironmentinwhichtoplayand vehicles andsculpturesbeyond,to

come, again come, show two www.kayetoland.com as wellamenstruationco-opsystem. product designandherfinalpieces,aconflictresolutionboardgame BA ProductDesigngraduatingstudentdiscussesherapproachto Kaye Toland

“the ideawastocollect experienced invisible all overlondon who stories frompeople cultural barriers”

come, again come, show two Here, Vallosharesfiveofherinspirations: sometimes Ifindmyselfthinkingaboutthem withalittlenostalgia.” monotonous music.Thesearethingsthatalways annoyedmebut morning, peoplestaringatyouonthemetro,andafunnightof judgemental cashiers,pigeonsfeastingonpukeaSunday each representasmallpieceofBudapest.Thefamousspas, where else.Iselectedfivethemes,differentscenariosthat and acertaintypeofhumourthatIbelievecan’tbefoundany- my 18yearsoflivinginHungary;withitsgreytones,awkwardness “My aimwastocaptureeverydaylifeasIexperienceditduring as wellParaphrase,herillustrationinspiredbyLondonstreets. Etudes, aseriesofshortanimatesequencesBudapestlife, At ShowTwo,shepresentsseveralpiecesincludingHungarian observations withasignaturehumoroustoneinherillustrations. Graduating fromBAGraphicDesign,BertaVallocombinesastute 1 Berto Valló ake k ta

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3 3 2 1 outfits andthewayshe tacklessocialissues female characters,vibrantcolours,fantastic following herworkeversince.Herpowerful me atPickMeUpin2015andI’vebeen Laura Callaghan’s illustrationsfirststruck can’t befoundanywhereelse. and acertaintypeofhumourthatIbelieve ter design,withitsgreytones,awkwardness of inspirationsandideasintermscharac - my studies.Ithasalwaysbeenagoldmine I was18whenmovedtoLondonbegin Budapest ismyhometown,Ilivedthereuntil of myillustrationsinoneformoranother. all theseyears,theyarefeaturedinmost school. Istillhaveapigeonobsessionafter animated sequencesinmyfreetimeafter basis andstartedtodevelophand-drawn to drawpigeonsandoldwomenonadaily a bigimpactonmeatthetimethatIbegan I feelstuckwithmyownwork.Ithadsuch really connectwithandstillgobacktowhen opinion onhumanitywassomethingIcould he communicateshis(undoubtedlyharsh) kid. Hisuniquesenseofhumourandtheway Lady andthePigeons)wasmyfavouriteasa short, animator andcomicwriter.Hisfirstanimated Sylvain ChometisaFrenchfilmdirector, La VielleDameetlespigeons(TheOld 4

5 4 www.bertavallo.com my eyes. a unique,specificlanguageofformin a senseofbleaknessbutalsobringing these countries,includingHungary,creating of flatsstilldominatethearchitecture hated it,it’shardtotell.Concreteblocks a focusforme.Maybebecausemyparents ture fromtheEasternblocwasalwaysin specific butsocialistModernistarchitec- It mightsoundoddly – the Communistera Eastern Europeanarchitecturefrom shop signIcouldintegrateintomywork. the cityhopingthatIcomeacrossanunusual in London; I find myself taking long walks in aesthetics ofchickenandsmallbarbershops lately Ibecamecompletelyobsessedwiththe London shops–Idon’tunderstandhowbut but worksdigitallytoo. watercolour, indianinkandisographpen hand drawnillustrationswithamixtureof and traditionaltechniques;sheproduces Her imagesarecreatedusingbothanalogue biggest inspirationsoverthepasttwoyears. of consumeristculturemakeheronemy 5

come, again come, show two virtual reality check “I’m interestedincriticalprojects–notproblem-solvingthroughtech- A glimpseintotheunsettlingnear-futureofVirtual Reality(VR) technology.” nology butpushingatwhatpotentialsituationscouldcomeoutofthis can befoundinMA MaterialFutures.MartaGiraltwasinitially some researchshealighteduponthefactthatpornindustry interested inhownewtechnologieswouldimpactcraftbutafter had beenoneofthefirsttoadoptVR.Fromthatpoint,Giralt looked attheintersectionofindustryandtechnology. Marta Giralt “It’s beenhauntingmethroughoutmyresearch,” Virtual XquestionswhetherVRcouldbecomea In ShowTwo,Giraltpresentsthisprojectcomplete So, whatishermoralstanceonownquestions? she says: the designerconfrontsuswithethicaldilemmas. stylish visuals.Pushingthecurrentrealityof porn marketplaceonlyashortwayintothefuture, with sleektoolstofacilitatetheexperienceand decided tocreateasimulatedrapeexperience. the possibilityoftechnologytocreatenotonly says, “orshouldpeoplebeabletoaccessthem?” experience butalsotopromoteempathyandaware- Her focuswastherelationshipbetweenimpulses in therealworldandexperiencesVRworld, we shouldberegulatingtheseexperiences,”she its currentuseintherapiesforpaedophiles–Giralt of thephysicalworld.“Myprojectisaskingwhether ness. Lookingatrealworldapplications–including mechanism to elude the legal and moral constraints avatars, thismeansthat see that as a positive thing.” “I’m absolutely against the they won’t be having these experience inreallife.Ido if it’s proved that because way womenareportrayed in pornography. However, people arehavingthese experiences inVRwith

come, again come, show two These VRprojectsmaybefuture-focused,butDomBiddulph’s Though VRtechnologyisalreadybeingusedbythelikesof The dialoguebetweenstandardisationandmass-customisation The futureofVRisn’tpurelyproblematicthough,otherprojects Cross buildingthissummer. day environments,beginningwithhisowndesk.Returningto design process. farmland abouttobetransformedintonewhousing. for thoselivinginthem,andhavetheabilitytoadaptaslives a toolforuserstodesignandedittheirhouses. architecture. InitiallytranslatingdesignsintoVRenvironments, already exploringtheapplicationsofthisnewtechnologywithin fits comfortablyintheworldsofbothVRandpre-fabhousing. Biddulph spenthisfinalyearofstudygettingtogripswiththe Design willbetransportedtotheprintworkshopsatCentralSaint Looking atOldOakCommon,inLondon,asitewhichasresult Hargreaves employsitnotasaluxurymarketingdevicebut been pushingbeyondthat,harnessingthepoweroftechnol- process. OverthetwoyearsofhisMasters,Hargreaveshas Martins’ Archwaybuilding,aworkshopthatmovestotheKing’s instead tocreatemodularandaffordablebuildingsthatwork McLaren fortheirconsumerstoplanandcustomisecars, Marc HargreavescametohisMAARCHatCentralSaintMartins in ShowTwoofferalternativevisionsforthetechnology. of theresidentschange. of HS2andCrossrail,willdeveloprapidlyincomingyears,he ogy toplaceusers,ratherthanprofessionals,atthecentreof his homeinBurton-on-Trent,hewaswandering aroundsome new technology.Usingphotogrammetry,hewouldscanevery- has onefootinthepast.VisitorstohisworkBAGraphic has designedamodularpre-fabricatedsystemthatusesVRas he wasessentiallyusingitasanextensionofthevisualisation technique, totakeasnapshotof this “I thought, ‘I really want to use this version of that space.’ I tried it out field exactly as it is. I’ve got a lot and it’d be great to have a virtual – it didn’t work, but I really liked of memoriesthatcountryside the idea of preserving a space.” “It’s a utopian view in a way, but atthesametimepre-fab and masscustomisation is entirely achievable.”

Dom Biddulph “Video gamesandentertainmentarepushingVR Though aprocessthatpromisestocapturekind All threedesigners,thoughworkingindifferent the solutionsimultaneously. that itcanbebothpartoftheproblemand of tive possibilities. that isembellishedwithtextgivingcontextand same way,apreservationofspaceabouttobe sounds ofpeopleandmachinesatwork,hebuilt the philosophyuponwhichdesignersallagree these projectsexploreverydifferentterritories, tial forartanddesign,”saysBiddulph.While the mostatmomentbutit’sgotsomuchpoten- fields, sensethepossibilitiesoftechnology. Returning toCentralSaintMartins,Biddulphreal- perhaps, itgotBiddulphthinkingabouttheSurreal- potential forobjectivearchivingofhistoricplaces, plenty ofapplications,andwhileBiddulphseesits is thatVRsimplyatooltobeusedlikeanyother, ists’ attemptstoconnectthesubconscious: insight. There-presentationofspacespasthas ised thattheprintingworkshopcouldworkin or anoverlycomplexsurfacetexture.Surprisingly ray ofreflection,theseamtwoimagesmeeting of reality,thestitchingphotogrammetricimagery one whichsimplypresentsthespace,andanother highlights glitcheshefindscompellingsuchasa he’s equallyinterestedinthepersonalandsubjec- up theenvironment.Heisworkingontwoversions, lost. Capturingnotonlythespacebutalso tion betweenthevividness current projectbutIfound of dreamsandtheamount subtle breaksfromreality headset the night before.” some kernelofitinthose “It wasn’t the aim of this I evensawsomecorrela- found withinthescene. of work I’d done in the

come, again come, show two location. Nostagesetups,if be doneinanalreadyexisting Dogme95: All shootingmust already exists. right environmentwhereit the story, youhavetofindthe a specificpropisimportantfor original thatinspiredit: Here, NyqvistsharesfiveofherDogmeDesign rulesalongsidethe can applythemtoanyfieldofdesign.” different tootherdesigners’interpretations but that’sthepoint,you are arestrictionbutalsofreedom;theresult maylookcompletely Dogme Designmanifestohelpsyoutogetgrounded again.Therules get backtobasics,whenyoufeelthatthere’s toomuchrefinement,the state ofdesignasmuchfollowingtherulesmaking.Weneedto “The manifestoisaboutopeningupadiscussionthecurrent the roleoffreedom/restrictionandhonesty/deceptionwithindesign: presents compellingfrictionsnotsimplybetweenmaker/userbutalso ing. TranslatingtheDogme95manifestointoNyqvist’sdiscipline from film-makingfocusinginsteadonemotionalrawnessandstorytell- Dogme95 soughttostripawayextraneouseffectsandtheatricality exemplified intheworkofLarsvonTrierandThomasVinterberg. of truthindesignbytakingcuesfromtheDogme95filmmovement, Ellen Nyqvist,graduatingfromBAProductDesign,exploresthenotion Ellen Nyqvist RULE 1 ake k ta

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the handispermitted. Movement andimmobilityby Dogme95: Hand-heldcamera.

RULE 2 to beincolour. lighting, thefilmhas Dogme95: Nospecial 2 1 RULE 3 of CNCmachine). 90 degreecornersthatarethedirectresult turing process,exposingthecirclesin my wayarounditbyexposingthemanufac- has beenCNC’ed.Ifeelguiltybutcanfind product. (Ibrokethisrule.Partofmycabinet Avoiding technicalvicesresultsinapurer mined andrigidvisionofthefinalresult. improvise theshape,insteadofapredeter- This givesthedesignermorefreedomto created by “mistakes” or “failure”. a computer. Serendipitiesareoften machines controlledbyahumannot must bebyhandorusingtools/ Dogme Design:Theprocessofmaking the consumer’simagination. cate falsely,displayedinawaytodeaden depicted onawebsiteormagazinecommuni- to trust.Industrially-madeproductsorthose it allowsthemtounderstandbetter,leading If theuserassemblesobjectbyhand, the user it’s aimed for. the productisintendedtobe,andby must bedoneintheenvironmentwhere Dogme Design:Makingoftheproduct action. Dogme95: Nosuperficial

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5 4 3 rids usofthesepreviously establishednorms. by agenericpattern,following themanifesto predictable productthathasbeendriven in acertaintrendorstylewillproduce often themostunpredictable.Designing to humanbehaviour,ourbestmomentsare terns. Butthisisdangerouswhenapplied The worldfollowspredictablerulesandpat- or styles. aim tobeapartofanyexistingtrends Dogme design:Thedesignshouldnot should benoembellishment. beyond whatisrequiredfunctionally,there user. Focusshouldbeontheessentialparts, are allowedthatcreateconfusionforthe of theproducthastobeclear.Nodetails mediums arenotpermitted.Thepurpose What youseeiswhatitis.Glueortransparent in theproductmustbevisibletoeye. Dogme Design: All structural elements has tobeaccessibleanddescribed. ted. Thefunctionandcontentofaproduct hiding orcoveringthe“truth”isnotpermit- Decoration, paintoranyfinishingthat’s express itsrealmaterials. Dogme Design:Theproductmust

movies. Dogme95: Nogenre RULE 5

come, again come, show two puncturing power Kathryn Basterfield Emma King with adoseofhumour. plenty ofprojectsinShowTwo thatreframeandrespond developments happeningintheUK,andabroad,thereare With suchtumultuous,andsometimesbizarre,political exquisitely in Sabon typeface, the project not only cements disparity betweenanenduringtruthandamalleableone.Set of digitalcommunications,and,inanextensionthat,the the permanenceoftraditionalpublishingandtransience Four tobereadvertically.It’saclashinoneobject,between lighted inred,allowingthefirstchapterofNineteenEighty- The resultisascrolloftweetswithonewordeachhigh- Emma King,MACommunicationDesign,presents in therelationshipbetweenpublishedtextsandinternet. politically-oriented projectanditsoriginslieinherinterest novel usingtweetsbyPresidentDonaldTrump.It’sherfirst @realdonaldtrump, arewritingofGeorgeOrwell’sdystopian region’s politics. questioning herownfeelings ofnumbnesstowardsthe Aoun wantedtofocusonherhomecountry and soonwas felt. As a Lebanese MA Communication Design student, satiric vein,buttransformedintosomething entirelyheart- Yasmina Aoun’sfinalprojectmayhavebegun inasimilar of peoplepost-Brexit. work-around toretainsomeversionofthefree movement agency thatpairsupUKresidentswithEUnationalsasa Kathryn Basterfield’sForeignAffairs,asatiricaldating MA CommunicationDesignthisyear.Takeforexample The mixofhumourandpoliticsareinnoshortsupply does. I’musinghisownwordstohanghimwith,”saysKing. simply takingthemoutofcontext,whichisexactlywhathe of hisstatements.“He’stweetedallthesewords,butI’m Trump’s tweets,butalsohighlightsthetrivialityandhypocrisy “It was a struggle to narrow down Nineteen Eighty-Fourroseupthe But thenTrump begangivingout book charts.So,couldIfitthese two textstogetherinawaythat all mythoughtsintoaproject. would unitemeaningbutoffer ‘alternate facts’ and Orwell’s a design authorship?” 1984 by

come, again come, show two power, aswellcommunicating asenseofpurposeandconformity. instead drawntothepsychology, howtheseclothesgivethewearer dissected garments.Not lookingatparticulartropes,thedesigner was Interested inmilitaryclothingandpropaganda, Akikicollectedand to preventvotingfraud. named aftertheactofmarkingvoters’indexfingerswithblueink wide politicalcorruptionandinstability,AkikicreatedBlueIndex1.1, questions aboutthewillfulblindnessofyoungergenerationto to reflectionsonherhomecountryofLebanon.Confrontingsimilar Sheryn Akiki,BAFashion,createdherfinalcollectioninresponse Another graduatingstudenthasfoundinspirationinthesameplace. audience whiletherestreadonlyitsfaçadeofBeirut’sparty-goers. work ispartillusion,communicatingitsmessagedirectlytointended making theactofrevelationbothphysicalaswellmetaphorical.Aoun’s tear itopen,revealingphotographyofthescarsviolenceoncity, corruption. Somepagesarefoldedrequiringthereaderto when infactitisanewsreportaboutbombingsorpolitical appears toEnglish-speakersbeitsArabictranslation, a particularlyexcellentnightoutispartneredwithwhat Presented inabilingualformat,anEnglisharticleabout comes intomostsharpfocusinthemagazine. Night”. Theenforcedcollisionoftherealityandfiction which inAoun’shandspresentsDJsasthe“Heroesof a postertypemoreusuallyshowing“martyredheroes” track isformedfromtheabstractedsoundsofbombblasts, contrast withtheongoinginstabilityandviolence.Atechno and posterseriesthatplacesthenightlifecultureindirect The resultisherFreePartimovement,amagazine,record that escapewhenIgoback.That thing. We keep votingforthesamepeople. think aboutit.Lebanonisoneof so much – that’s crazy when you have anypoweraspeoplesowe to terms with what’s happening, was mystartingpoint,tocome night lifeinBeiruthasthrived just keepourmindsoffit.The the world’s party spots. I love Lebanon becausenobodychanges any- “Our politicians extend their mandates illegally, we don’t to open up a conversation.” It’s the highest form of marketing.” “They say history repeats itself in

Yasmina Aoun Sheryn Akiki Alexandra Bailey only apuncturing,but alsoacelebration,ofitssubject. reference tofashion’s biggestmomentsandpersonalities,making itnot whale. WhileYankermayofferthe“punchinface”,it’sdense with Cholmondley’s accidentalkillingofthelast living femalewhitebeluga cultural insensitivity,including“MigrantChic” intheCalaiscamps,and of BlandAlexandraSandman”)toeditorial shoots ofbone-crushing of fashion’srulingelite(enterphotographer “AnnieLiebotitz”and“editor Each giganticpagebringsbothhumourand offence,fromthespearing  combine tocreateaninvisiblearmywithoutnationality. but endupfully-kittedoutinBlueIndex1.1wherethemilitaryandmundane ment” and“nototheoversimplifiedjpeg”.Recruitsmaystartwithaposter also bythefashionsystem.Slogansinclude“notoperceptionmanage- own propagandamachineinspiredbyherthoughtsonlifeinLebanonbut stamps, posters,matchboxes,awebsiteandmore.Shehascreatedher Akiki’s undergroundmovementdoesn’tstopatgarments,therearebadges, they arepreparedforanything. almost frenzied,clothedingarmentsthatreadasadhoc,yettruth intentionally obscuresitstruemeaning.Hermodelslookrushed, Echoing Aoun’sFreeParti,Akiki’scollectionpresentsafaçadethat a mess.” wear, mycollectionisforwomen,they’reinvisiblyreadybutlooklike ent, thesilhouettesarefeminine.Iwantedtocreateoppositemilitary “I usemilitarytechniques,buttheydon’tlooklikeit,thefabricsarediffer- a littleofBaileyherself. composite madewithalargedoseofDianaVreelandand itself. IttellsthestoryofDianaCholmondley,afashioneditor satirises theabsurdityofitssubjectbutisentirely absurd the fashion world. At a metre tall, the publication not only the first issueofYanker,agraphicnovelthattakesaimat Fashion Communication:Journalism,launches themselves areripeforthepicking.AlexandriaBailey,BA treatment bythisyear’sgraduatingstudents.Disciplines Politics isn’ttheonlysubjecttoinspireacreativeyetcaustic The ideaofbeingatastemaker sterility andconformity. Iwant “It began with my experience is aboutthatwhiteness, of representationso Yanker of beingatotalmisfit,both in fashionandLondon... is anobsessioninfashion and there’s a distinct lack it tobeoverwhelmingand a punch in the face.”

come, again come, show two 1 these postersandnewsprints. bold, largescale,repeatedprint,herworkconveys atexturedresponseto raw andunrefinedmaterialsincludingdenimcanvasfocusingon and peelingaway,howtheseremnantsformednewsurfaces.Workingwith London, shestartedtolookatthetracesleftbypostersbeingtorndown century easternEuropeangraphicposters.Takingthisresearchbackto to exploreherownCzechoslovakianheritage,Forrestbeganlookat20th ation offoundandfragmentedprintedmatter.AfteraresearchtriptoSlovakia Mimi Forrest’sfinalBATextileDesigncollectionpresentsuswithanexplor- Mimi Forrest 2 ake k ta

e v i f 3 3 2 1 4 printed outcomes. using theseassourceimagerytocreate placed inaneverydayenvironmentand ments oftypography,frompeelingposters from takingprintedmatter,especiallyfrag- Fragmented type–Myprojectevolved that givesititscharacter. the ideaoflookingatsubtletiesaplace machines andurbanwaste.Irespondedto Berlin, suchasstreetsigns,chewinggum Mangler documentingtheundertonesof City Language–ThisisabookbyChristoph and incorporateditdirectlyintohisartwork. streets, togetherwithfoundephemera images bycollectingrubbishfromthe Schwitters. Amongotherwork,hecreated I wasinspiredbyandidentifiedwithKurt Kurt Schwitters–Intermsofmyconcept,

5 5 4 www.mimiforrest.co.uk tion ofthefounddisjointedletterforms. typography asatactilelowreliefinterpreta- my ownmethodsofpleatingtobreakupthe Pleating –Iexperimentedwithvinyland mental workandfinalpieces. three-dimensional outcomesinmydevelop- space. Hestimulatedmyinterestincreating affinity withscaleandpositioningwithina Robert Morris is a sculptor who has a similar vast expansesofpostersandbillboards. cally thetype,asitoriginatedfrombold, I wasdrawntolarge-scaleprinting,specifi- Robert Morris–Throughouttheproject

come, again come, show two for theInvisibleKingdom®, which ownsall the private “I createdafakeidentity spaces inLondon” creatively engagingandinformingLondoners throughaseriesofinterventions. a speculativeprojectthatexposestheprivatisation ofpublicspacewhile , public spaces.ForherfinalprojectDurantipresents uswithInvisibleKingdom® interested inprivatisationandtherelationship betweenpeopleandprivate/ After movingtoLondon,AliceDuranti(MACommunicationDesign)became Alice Duranti

come, again come, show two 1 water she’d missinouterspace: In keepingwithherproject, Lewsharesfiveearth-boundexperiences that pleasurable, andsensuous?” Why can’tlivinginspacebepurposefuland fulfillingbutalsoenjoyable, the overlookedday-to-daylifeofhumanitythat Ibelievetobeimportant. SPACEX, norisittheadventuresofBarbarella, itisthegreyareaofspace, My positiononspacetravelisneitherthepicture paintedbyNASAand are tolivewellinlong-termspacecolonisation anddeepspaceexploration. “Humanising spaceneedstobeaddressed andgivenattentionifhumans of oureverydayexperiencesshebegandevisingsystemsforspace: been overlookedbyscience.”Consideringthepsychologicalimportance “it struckmethathumannessandachievinghumancomfortinspacehas I’ve learnedthatnothingfeelsasamazingwater”.Lewalightedonthis, On hisreturntoEarth,ScottKelly,aNASAastronaut,said“personally, experiences inspace. recollections resultinGalacticEverydayherprojectdesigningsensory reality. ButforChristineLew,MAMaterialFutures,researchingastronauts’ In ourchildhooddreamsoflifeasanastronaut,clichéeasilyoutweighs Chrisine Lew 2 ake k ta scent

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animals 3 2 1 in diverseecosystems. Interacting withanimalsandobservingthem baking orsomethingfryinginapan. The smellswaftingfromakitchen,bread would benon-existentinspace. taking abath,orfeelingrainagainstmyface feeling wateraroundmybody:swimming, inspace.Iwoulddefinitelymiss ing water A majorcomponentofmyprojectisaddress- 4 seasons 5 4 lewchristine.com feeling apartofgreaterworld. noises ofalargemetropolitancityand crowds of people, hearing the bustling Lastly, Iwouldmisswalkingamonghuge the bloomingofSpring. seasons onEarth,fromsnowfallingto scenes inspace,Iwouldstillmissthe Although therewillbenewspectacular 5 crowds

come, again come, show two matters mind Jiani ZhaoandEmanueleRomano eyes ever-watchingand aheavyclothofclouds. depicting aJesus-like figure,fabriccoveredwith the resultingcollectionincludesagreycloth a seriesofimagestotranslateintotextiles; From thosecontributions,Southerncollected nected imageryorvisions. mental healthexperiences,specificallythe con- she askedpeopletoanonymouslysharetheir experiences ofothers.Throughanonlinesurvey, and Surrealism,shesetoutcollectingthefirsthand Mind) withdisciplinaryinfluencesofOutsiderArt interest inthesubject(shevolunteersforcharity as itsstartingpoint.Combiningherownpersonal Design. Herseriesoffabricstakesmentalhealth the surface is Anna-Maie Southern of BA Textile Another designerbringinginternalexperienceto of hisownexperience. the protagonist’sbrain,toseevisualmetaphors the shiftsinrealityasfilmbringsviewerinto The shiftfromhand-drawntostop-framemagnifying medium tomakemanifestasubjectiveexperience. says Romano,emphasisingthatit’stheperfect of creativeenergy. although debilitatingalsounleashedanewsense she sharesherownstrokeexperience,which tion fromaTEDtalkbyDrJillBolteTaylorinwhich altered reality.Thefilm’smakerstooktheirinspira- there issurprisingbeautyintheexplorationofan But alongsidethepainandtraumaofexperience, having astroke. hand-drawn animation,tellsthestoryofaman The film,acombinationofstop-frameand both graduatingfromMA Character Animation. of one ofthemodelsusedduringmaking in stripedpyjamas,sittingacloud.Thisis Visitors toShowTwo sawanoldman,dressed Stroke byJianiZhaoandEmanueleRomano, and that’s what we wanted “There’s a higher state of to show with animation,” consciousness perhaps,

come, again come, show two can giverelief. mindfulness orCognitive BehaviouralTherapy way tonotonlydescribetheirpainbutthrough of Alleviationofferspatientsanintuitiveandplayful pain sufferersmakesenseoftheirpain.InQuest created adeviceandappthathelpschronic Anna Charpentier,MAIndustrialDesign,has the processingofsuchexperiences. in thecommunicationofinternalstatesbutalso and Southern.Creativitycanplayapartnotonly as shownbytheworkofbothRomanoandZhang, alise experiencesthataredifficulttoverbalise, Creative practicesareperfectlyplacedtovisu- says Southern. “I wantedtograspthescopeofhumanmind,” ure acrossthecollectionwhichispurposeful, There’s alargerangeofbothaestheticandtext- but insteadpartofthepatchworkhumanlife. ences weseehowthesethoughtsaren’toutliers remove stigma,thatbysharingpeople’sexperi- Southern explains.Muchofhermotivationisto The fabricsaremadespecificallyforgarments, to thefeelingsofoppressionandparanoia. from thedelusionsofthinkingthatyou’reJesus images representcommonalitiesofexperience, accounts, sheemphasisesthatmanyofthe While Southerntookinspirationfromspecific heart oryourmind, “it’s wearing your on your sleeve,”

Anna Charpentier Anna-Maie Southern Laura Fischer we canhealwithcreativity.” traumatic memoriesintodeclarativememories, stuck. Ifcreativitycanhelpstimulatenon-verbal options. Withoutimagination,oneiscompletely not –becausewithimaginationwecanperceive tion iskey–whetherwecallourselvescreativeor of imagination,sheexplains,“havinganimagina- but artandscience.Traumaisequaltoafailure Fischer’s workconnectsnotjustbodyandmind, tive ofshameandstigmatoanarrativestrength, Eager tomovetraumaticexperiencesfromanarra- it wasn’tanintuition,wasthecase.” something. ThenIresearchedandrealisedthat sense formeintuitivelythatweweremissing body somuch,you’reavesselofpain.Itmade ‘how areweusingmybody?’Traumaaffectsthe “I washavingtreatmentandIaskedmydoctors formed intoaprocesswithuniversalapplication. that iskey.Whatbeganfromherownneedstrans- and itisthiscombinationofwordmovement event, thebodycontinuestoregistersensations brain defensivelyswitchoffduringatraumatic Fischer explainsthatwhilesomeportionsofthe explores movement as a therapeutic tool. guage”. Throughfilmandperformance,Fischer creating “atrauma-focusedmovementlan- the connections between mind, brain and body experience inspiredherworkteasingout Practice, LauraFischer’s Graduating fromBAPerformanceDesignand “Most therapies right now, make sense, it’s contrary trauma. It’s so important In trauma, that doesn’t both brain and body.” to themechanismsof are talkingtherapies. to haveabalanceof own traumatic

come, again come, show two www.lenapeters.co.uk the same. between therealandunreal.Here,she shares fiveobjectsthatdo Peters’ interestinfolkloreandmythologymeans thatherworkdances for thefirsttime.” settlement. Inthisexhibition,weseetheirgods, theirmythsandhistory above theRomanterritoriesuntilfighting forcedthemtoabandontheir and CelticBritonswhochosetoliveoutsideoftheconflict,livinghiddenjust the theorythattheseobjectsweremadebyagroupofcombinedRomans Romans andthenativeCelticBritonswasatitspeak...Historiansposit the constructionofthiswall;atimewhenconflictbetweeninvading ment. Accordingtoarchaeologists,theydatefromaperiodjustprevious National Park,justaboveHadrian’sWall,intheremainsofasmallsettle- “The objectswerediscoveredin2015thewoodsofNorthumberland own archaeologicaldiscovery. Lena Peters,BACeramicDesign,presentedwiththe“history”ofits Secrets oftheHiddenNorthisacollectionceramicobjectsby 1 Lena Peters ake k ta

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3 3 2 1 to folkloreandharvest traditions,somestill were ahugeinspiration tome.Theserelate photographs ofEuropeanfolkcostumes Wilder Mann–Charles Fréger the blanketofChristianitytothisday. and traditionshavefoundtheirwaythrough especially intheUK–ancientpaganbeliefs purpose, formetheseembodythewaythat – that theypromotedfertility.Whatevertheir show thesinfulnatureoffemalelust,another lish. Onetheoryisthattheyweremeantto and thereligiousbuildingswhichtheyembel- between thesegrotesque,vulgarcarvings Britain andIreland.Ilovethejuxtaposition found onchurchesandcastlesacrossGreat Sheela nagigs–Theseoddcarvingsare I findendlesslyfascinating. makes itbothlessandmorevaluable,which Ceremony. Theadditiontothispricelessitem use itasamizusashi(waterjar)intheTea tion, someonehaslacqueredtheinsideto I reallyloveaboutthisisthat,sinceitscrea- firing (‘Jōmon’ means ‘cord pattern’). What by wrappingropearoundthevesselbefore pottery intheworld.Thepatternsaremade Jōmon period and is among the oldest British Museum.Itwasmadeduringthe Jōmon Pot 4 – Thispotisondisplayinthe – Fréger’s

5 4 and completelyunique. Measles onthebackstamp. It’sbrilliant for example,featurestheteddybearAlan and mergeswithhisimage.Thisjacket, he borrowsliberallyfromhistoricalimagery) outside oftheobjectshecreates(inwhich fascinating tomethathislegendexists with hisownmythology.Itisespecially Everything GraysonPerrydoesisimbued Grayson Perry’s Essex Jacket – of Hungary. This isthemummifiedhandofSt.Stephen four bodies,andeverySainttwoorthree.” manifest thateveryApostlehasmorethan brought tooneplace,“itwouldbemade reformer, saidthatifalltherelicswere stone. JohnCalvin,a16thcenturyProtestant as anythingfromanimalpartstopumice to performmiracles,andhavebeenexposed foreskin. Thesepiecesofsaintsweresaid relics, fromsaints’fingerbonestoChrist’s anyone. Therewasaroaringtradeinfake get theirhandsonapieceof...basically medieval period people were desperate to The MedievalRelicTrade – During the society andyetsomehowtheysurvive. strangeness, theirirrelevancetomodern practiced today.WhatIloveistheircomplete 5

come, again come, show two to treasure from trash Helen Milne images: catwalking.com Kevin Germanier exploited tohangaparticularwayuponthebody. are usedtoconstructthegarment,theirweightandpliability and soft,thebaseissetwithbeadsresultingpanels able aestheticbeauty: declaration andaction. Yetwithhermaterialcomesanundeni- Archiving theAnthropoceneisperformative,meanttoinspire changing textilelandscape. metal corrodesitdyesthenearbythreadscreating aconstantly satin, theresultingfabricwastreatedwithvinegar, soasthe copper wirewithpaperyarns.Inacombination ofsateenand Erosion collection,inspiredbyatriptoDawlish,combines embedding themwithgreyparticlesofpollution. TheCoastal they were rubbed on white vans and stuffed up exhaust pipes, flag exclaiming“CleanMe”,includeswhiteyarnsdarkenedas the fabricitself.HerAirPollutionseries,withacentrepiece responds toclimatechangenotonlywithsloganbutalso In living inapolitically-chargedtime.” as acommunicativemessage,flagsareveryimportant,we Milne’s seriesofprotestflagsandtextiles.“I’musingtextiles In adifferentway,materialexplorationisattheheartofHelen Archiving theAnthropocene,BATextileDesignstudent to showthatyoucancreatesustainable fashion without making a linen shirt!” more couturethansustainable.Iwant “I want the audience to think it looks a waytocombinethemintohisdesigns.Bothstrong rejected beadsandalightedonasiliconebaseas Germanier experimentedwithpossibleusesforthe shocked bythewaste,”hesays. is openorthey’rethewrongPantonecolour?Iwasso be sold.Why?becausetheyarebroken,thepackage broken beadsintoapitintheground.“Theycannot One dayhediscoveredamansheepishlydiscarding a 3-monthplacementinHongKongduringhisdegree. Having wontheEcoChicAward,designerwason to createincredibleworkwithoutmuchmoney.” so guilty,”hesays,“butalso,it’saboutthechallenge to goashopandbuyfabricbecauseIalwaysfeel ethical stancebutalsoapracticalone.“Idon’twant His interestinre-usingwastematerialcamefroman glamour withdelicacy. of colour, lightandtransparency, gownsgiving people to smile,” he says of these explosions as far from waste as it’s possible to get. “I want Kevin Germanier’s BA Fashion collection looks

come, again come, show two something wherethere wasnothing,itreducescouncilcostsas The developmentof PeckhamCoalLinedoesn’tsimplymake It isthisconnectionthatatthecentreofproject: tion forgedbetweenplaceandpeople. painted andmosaicsmadewitheachinterventionaconnec- parties –tobringlifethespace.Planterswerebuilt,murals 2016, Woodfordranaseriesofevents–fromwassailstotea a shortpieceofroad,usedmostlyforfly-tipping.Throughout Bidwell StreetisthefirstofThePeckhamCoalLine’sspaces, people, theinitiativeraised£75,000forafeasibilitystudy. idea intoareality.Throughthedonationsofnearlythousand Woodford andateamofcollaborators,begantoturnthisinitial Setting upawebsite,drummingsupportandcrowdfunding, nected andbecomeawholelotmoreuseful.” places fordumpingandparkingbutsuddenlytheygetcon- he says,“allofthesethingsbythemselvesarenon-places, stable yards,disusedbitsoftruncatedroadandcul-de-sacs,” “It opensupawholebunchoflargerspaces,oldcoaldrops, connect QueensRoadandRyeLanewitha900mlinearpark. Woodford realisedthatusingabitofimagination,youcould Interested inspaceswiththepotentialtobesomethingmore, is repurposingthemintoThePeckhamCoalLine. and, throughaprocessofconversationsandcollaborations, on aseriesofwastedspacesinhislocalareasouthLondon Woodford, graduatingfromMAARCHArchitecture,hasalighted It’s notonlymaterialthatgetsoverlookedanddiscarded.Nick thought, otherwise there’s no engagement.” “I’ve had people say that it’s too beautiful. I like it too much. It’s not nasty enough. But, assomeoneinadesigndiscipline, negotiate, thenhopefullyyoucanmake my workhastobeenticingprovoke different peopleliveinasmallspace something that works for everyone.” agency buttogetherwedo,have but often don’t cross paths. Shared a collectivepower. Ifyoucancome spaces areourcommoninterest. We don’t feel that we have much “In a place like Peckham, lots of together withotherpeopleand

Nick Woodford images: catwalking.com Matthew Needham runway, aremnant. the runwaytocompletecollectivepiece,leavingiton the platform,untilfinalmodelcarriedanotherwindowdown out thepresentationofcollection,thingswereaddedto with amodelpullingstructurebuiltfromoldwindows.Through- The closingcollectionofthisyear’sBAFashionShowbegan transformation schemesaroundthecapital. Mayor ofLondon’sSpecialAssistantTeamengaginginvarious which, aswellsteeringthePeckhamproject,ispartof Woodford has setup a cooperative collective, Mesh Workshop, kind withcommunity-ledschemesspringingupacrosstheUK. year’s London Planning Awards, but is not the only project of its The PeckhamCoalLinewonbestcommunityprojectatthis have aperceivedeconomicvalue.” explains, “theseplacesareneglectedbecauseoftentheydon’t value beyondtheeconomic,that’sabigpartofit,”Woodford spaces transformfromliabilitytocommunityasset.“Wesee ingly impracticalgarments. both utopiananddystopian,acraftedfuture ofseem- contradictions onwhatitistobesustainable infashion: Needham’s clothes,fullofurgency,offerinsightful encourages ingenuity. to amakerinprocessthatrestrictsresource andyet anthropocene philosophybutalsothepractical challenge workshop. Attheheartofcollectionisnot onlyan create histoilesfromthediscardedpieces found inthe unlikely thingslikepeeledpaint.Needhamwouldeven he wouldcollectwhateversparkedhisinterest,including There’s nootherwordforit.OnhisdailywalktoCollege The BritishFashionCouncilscholarhasbeenhoarding. “It’s changedthewayIthinkaboutworld,”he says. inherent incyclesofproductionandconsumption. Norway madeNeedhamconfrontthewastefulness A combinationofayearspentinindustryandtripsto dead stock. made fromfoundfabrics,fly-tippedwasteandretailers’ its doomedconsumption.AllofNeedham’sclothesare of detritus the ingenuity andmakeswhatitneedsfrom contribution toclimatemeanshumanityharnessesits That place,forMatthewNeedham,isafuturewhereman’s They’re a lens to another place.” “A window for me is symbolic. I’ve always loved them.

come, again come, show two 1 perception ofwaste.Here, Parkersharesfiveinspirationalpractitioners: only beautiful,butvaluable, objectsofdesirechallengingtheviewers’ Through craftsmanship,thisnormallymundane packagingbecomesnot her workdisguisesthematerial’soriginalform makingthemunrecognisable. and washingdetergentpouches.Creatingunique texturesandpatterns, appeal ofdiscardedpackagingsuchasegg cartons,aluminiumpietins household wastematerialsintoitemsofluxury, focusingontheaesthetic Ruby Parker’sBAJewelleryDesigncollection transformsdeconstructed Ruby Parker 2 ake k ta

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3 2 1 ucts withnothoughton thepackaging. on thewayinwhichwe consumetheseprod- “Thanks forshoppingwithus”andcomments plastic bagfoundonthestreetthatreads eaten thecontents.Theembroideredblack would usuallythrowawayoncetheyhad is elevatingandadmiringwhatmostpeople and designofthebrandedcrisppackets,he sumer statement.Inkeepingwiththecolours them fromathrowawayitemintoboldcon - embroidering themwiththread,transforming value todiscardedcrisppacketsdensely Through craftsmanship, much weconsumeandwaste. ing society’sconscienceintoassessinghow highlighting thisthrowawaycultureandprick- that CeliaPym’slovinglydarnedsockshave; I wantedtocreatethesameattentiondetail a conscienceabouthowmuchwewaste. thing, somuchthatwenolongerhave had nothingwhilewehavetoomuchofevery- wasted andeverythinghadavalue.They rationing dictatedthatnothingwasever grandparents’ generation,wherepost-war so frivolously.It’sadifferentworldfrommy throwing everythingaway–aswealldonow ings usedtobethenormasopposed – Mendingandfixingyourbelong- Celia Pym 4 Daniel Greeradds

5 4 3 5 to producedrinkingcans. in contrasttothemechanicalprocessused each individuallysculptedandhand-painted Xue’s is ajuxtapositionthatreallyinspiresme. it intoanobjectusuallyonlyseeninabin traditional intricatepatternandthenmaking – TakingporcelaincoveredwithaLei Xue colours andtexturesoffood. encapsulates howhefindsversatilityinthe ironic luxury. odd or obscure – and giving it new life of taking anymaterial–nomatterhowmundane, For me noodles intoathoughtprovokingartform. out whatyouputin–whilealsoturningthese viewer down,makingthemrealiseyouget lines onknittednoodlesSuwitoslowsthe order tocreateit.Throughmakingtheselong result, butarenotwillingtoinvestourtimein ments onhowweexpectorneedaninstant noodles takesincrediblepatienceandcom- slow performanceart.Knittingwithcooked Cynthia Suwitoturnsaninstantmealinto Drinking Teapresentscrushedcans Fulvio Bonavia is the master of It’s aMatterofTaste,hisbook,

come, again come, show two of moraldilemmas. a palmoilfactoryownerandaskedquestions thattakethemthroughaseries Using aninteractivepinball-inspiredmachine, usersareplacedintheroleof whether weshouldprioritiseenvironmentalprotectionoveremployment. the Indonesianpalmoilindustryandcontroversysurroundingit,namely Suhardiv’s finalprojectforMAMaterialFutures,Phantaspalma,explores Annya MutiaSuhardiv

throughout my project thatsustainability “I’m tryingtosay is complicated”

come, again come, show two 1 Here, Samuelhighlights fiveofhismostcherishedinfluences: illustration, givingeachofhispiecesitsown uniquenarrative. 20th centurysci-fi,culturetheories,parallel worlds,graphicdesignand a seriesofpsychedelicceramicpieces.Gull’s worktakesinspirationfrom on hispassionforsurfaces,exploringtexture anddecorationtoproduce For hisfinalproject,MADesign(Ceramics) student, SamuelGulldraws Sam Gull ake k ta 2

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3 3 2 1 create suchmonolithic structures,from There aretheorieson how hewasableto ture ismostlylimestoneandformedcoral. Edward Leedskalninin1920.Thestruc- by theselftaughtengineerandsculptor single-handedlybuilt Coral Castlewas to travelfurtheranddiscovercosmicevents. given cluesintheformofsoundandimage adventure throughthelandscapeyouare between itsvisualandsounddesign.Asyou filled withbeautifullyorchestratedsubtleties This landscapeexplorationvideogameis Proteus byEdKeyandDavidKanaga– neighbour’s housemightlooklike. finished itmightbetimetodiscoverwhatits tion outofthiscreature’shome.WhenIam the drawingIcanstarttogenerateacollec- vessels Ihadbeendrawing.Nowthathave about interiors,anddesignsofceramic and outofsmallspacesonYouTube,notes result ofwatchingoctopusessqueezein doesn’t seemrelevant.Thispagewasthe important to my process, even if the idea Recording anideaassoonIgetitisreally I alwaystryandkeep 4 on me.notebooks on

5 4 ing forahumantolistento. them, buttherecordismostcertainlycalm- help themgrow,I’mnotsureifitworksfor was designedtobeplayedyourplants Plantaisa byMortGarson–Thisrecord bright anddaring. reminds us that visions of the future can be and impossiblybelievableform.Hiswork spaceships. Theyarefilledwithexpression Chris Foss envisions the most exciting devises forworkaid. energy linestotheuseofanti-gravitational geographical alignmentswithearth’snatural

5 come, again come, A year after her graduation, Craske is split- a practice that transcends the ‘building ting her time between Manchester and wall’ politics. Science collaboration benefits Basel. The artist has secured the Biofaction everyone globally and to be embedded Residency at the prestigious ETH in in that is wonderful. The art world, too, Switzerland with funding from the EC-EP7 is a global community so it’s interesting project SYNPEPTIDE. Working within a team to reflect on the potential of how they could that specialises in synthetic biology, she work together.” has been designing her own peptides, “play- ing with the building blocks of life” as she Back in the UK, Craske is artist in residence describes, in the hope of creating her own at Chetham’s Library in Manchester, the synthetic organism. She is then planning to oldest public library in the English-speaking set up a performative experiment in which world. her synthetic organism makes contact with cholera, and will be documenting the results. “People have been using these books over the Working with the Pharmacy Museum, also last few centuries. So based in Basel, Craske is not only engaging with cutting-edge technologies but using the the amount of biological rich historic archives as a treasure trove. data they potentially Connecting the past to the present, Craske’s hold is incredible... practice also bridges the worlds of arts and In private libraries, science often placing the artist as a translator books are of course between the two disciplines. “When I first kept on shelves, locked arrived I was initially translating it for myself,” away and rarely looked at. she says, “but about a month in, I’ve built Whereas here there are up the language to talk about it, to move between the science lab and the arts significant editions – practice... It’s been fantastic being in like Robert Hooke’s image: Vic Phillips Micrographia – that have been accessible to many since its publication. one year on It’s a brilliant place.”

In the midst of her ETH project and with an We take a minute to catch up with exhibition in Manchester on the horizon, it’s Sarah Craske, last year’s MullenLowe a good moment to reflect back on the impact NOVA award winner. of winning the NOVA Award a year ago. At the awards ceremony, Craske recalls the Sarah Craske describes herself as “a British With libraries digitising their manuscripts and announcer having to say her name twice artist, without category”. A graduate of MA books enabling global audiences to access before the realisation dawned that she was Art and Science, her work won last year’s them, Craske wondered about the impact the winner. “If I’d known the impact of the NOVA Award which is presented to one on the physical artefact. As objects, do they award then, I would’ve been even more student selected from across all disciplines. have other systems of knowledge to offer nervous,” she says. “It meant I wasn’t pres- Her graduating project presented a trans- rather than just the text on the pages? sured into finding work immediately and discipline, a collaboration with scientist Dr Focusing on the micro, Craske went looking I’ve used the financial support to develop Simon Park, and Dr Charlotte Sleigh, explor- for the biological information hidden in an novel printing processes with bacterial inks. ing books as both repositories of written 18th century copy of Ovid’s Metamorphoses. I wouldn’t have been able to do any of it knowledge but also collateral biological Her degree show work included the cultures without NOVA.” information. of the bacteria as well as magnified ‘maps’ revealing the microbiology discovered across the pages of the book. From kabuki-inspired textiles to a menstruation co-op, the shortlist of this year’s MullenLowe NOVA Awards offered a glimpse at the diversity of the College’s graduating students.

Paying tribute to all the shortlisted grad- uating students, Jose Miguel Sokoloff, President of MullenLowe Group Global Creative Council and Chief Creative Officer, MullenLowe Group UK, said:

“You nurture our ideas, you show us the future. That is why coming to the degree show is so important for an organisation like ours.”

Hana Fujimoto images: Vic Phillips The main prize was awarded to Hana Fujimoto, BA Textiles, for her series of garments inspired by both the Fluxus movement and Japanese kabuki theatre. Talking about her future plans, Fujimoto said, “I’m working on a collaborative project with some MullenLowe Group music artists who want to use my work for a dance piece. I want to push my work into different fields. My work is very emotional, but I like to see how other people can connect to it and interpret NOVA Awards it. I want to be as broad as possible, I want to challenge myself.” The two runners up were Hannah Scott (MA Art and Science) and Jiani Zhao and Emanuele Romano’s collaboration on MA Character Animation. BA Product Design celebrated with two winners: Sasha Bruml took home the YourNOVA Award voted for by the public while Kaye Toland won the Unilever Sustain-ability Award.

“Now in their seventh year, the NOVA Awards are established as a key part of Central Saint Martins’ annual cycle. The judges somehow manage to choose a vibrant shortlist from a huge vari- ety of work, surfacing projects that always stick in the mind,” said Jeremy Till, “to have external judges both validate and celebrate this student work is very important for the college; over the years the shortlists and winners of the NOVA build a compelling picture of the obsessions and changes of one the world’s leading centres for art and design education.”

Sasha Bruml image: Vic Phillips

The shortlisted students for the MullenLowe Group NOVA Award 2017 were:

Yixiao Shao – MA Photography Matteo Valerio – MA Fine Art Hannah Scott – MA Art and Science Juliana Dorso – BA Fine Art Emma King – MA Communication Design Jiani Zhao and Emanuele Romano – MA Character Animation Hana Fujimoto – BA Textile Design Helen Milne – BA Textile Design Kaye Toland – BA Product Design Lucy Ganley – BA Jewellery Design Marie Laffitte – MA Industrial Design Matthew Needham – BA Fashion Sasha Bruml – BA Product Design Shanshan Liu – MA Narrative Environments

Kaye Toland image: Vic Phillips central saint martins, university of the arts london www.arts.ac.uk/csm Facebook | @centralsaintmartins Instagram | @csm_news Twitter | @csm_news editor: Teleri Lloyd-Jones contributors: Christiane Brittain and Sophie Corcione designed by: Emma King with thanks to: John Sturrock, Lorna Searl, Joseph de Weijer and Jeremy Till