CALUM-LOUIS ADAMS Feeding, Spitting, then Feeding again
Calum-Louis Adams is a Brighton-based artist who’s conceptual practice takes drawing as its foundation, departing from the tradition of ‘artist dominating material’, to instead favour a collaborative effort between artist and material other. Most areas of Adams’ practice relies on recognisable imagery and design in order to stray toward the anti-image, a place where reimagining’s can occur. Often the artist works with the immaterial and ambitiously displays events through performative processes, imagery and objects...


PATRYCJA LORANC I won’t make a sad film (Nie zrobię smutnego filmu)

Patrycja describes her film, Nie zrobię smutnego filmu (I won't make a sad film) as ‘an exploration of distant family relationships and finding balance in the awareness of the private space and one’s own company’. It was inspired by the Buddhist philosophy of living in the present moment, and was made during and in reflection of the lockdown period within the UK....


BENJAMIN HALL Spiritual Successor 

On first time playing I try to get a sense of the landscape, feeling my way around and choosing the first memory I encounter out of indecision. Now I say first because I have revisited Spiritual Successor multiple times. Sometimes pausing for a detour and coming back, ingesting it slowly. There are various paths to take...


ADRIENNE SCOTT Will you miss me when I’m gone? 

Adrienne Scott’s series “Parcels” presents a series of intricate objects alongside a family archive of letters and telegrams from World War I. These objects appear ancient and otherworldly, simultaneously sinuous and metallic. One image is leaf-like, reminiscent of fine Kanazawa gold coating a natural object. Others are beautiful, fungal - like ancient organs frozen in time...

Written by JESS TSANG

SEAN ROY PARKER Fermental Health 

I have encountered Sean Roy Parker’s project, Fermental Health, over a period of around two years, and have met it gradually in glancing at its various forms: images of eco-dye t-shirts and swap economies online, scanner-bed reprocessed trash and weeds, handwritten school workshop instructions, kimchi swaps, pay-what-you-can food services, Instagram post and zine articulations of methods which pertain to processes of learning - radical amateurism, non-judgemental observation...

Written by KATE PAUL

SAJIL KALEEM Audio Collage 

Sajil Kaleem's visual language explores a personal approach to a sense of displacement and dysphoria. Identity and the questioning of such comes out of the work through a subtly built-up understanding of cultural context and contradiction, that not only forms the work, but imprints the identity of artist into the work itself....

Written by AMY JOWETT

BEATRICE ZERBATO Dancing on the Ruins 

The work Dancing on Ruins salvages the use of the symbology of the tree, to communicate with visuals dense with meaning. Symbology is used as a guiding element for the performance: the human being participates and is complemented by its own symbols in a dance of mourning and rebirth. The broken tree at the center of the images is the stage where the dance takes place, in an imaginative attempt of reconstruction of balance and harmony...

Written by SARA SANI


‘Art Book Series’ is an abstract and improvised response to ‘The Art Book’. Lily responds to every spread, one by one, working onto the book’s pages with various mediums including paint, collage, and drawing. Some of the spreads are completely obscured, the page's original content hidden under layers of paint and paper. Her choices in what is covered and what is exposed control and show much of the book that we see...


ANNIE KING From Dust We Came and Dust We Shall Be

Annie King’s ‘From Dust We Came and Dust We Shall Be’ is, for me, a beautifully humble sign of the times in every single way. It does not bear any overt relation to the much-exhausted topic of coronavirus and thus escapes any media desensitization we might feel towards the topic already. Instead, this series of photographs delicately reflects upon a secondary effect we are experiencing; a mass return to nature...

Written by THOMAS LAKE

EMMA CRABTREE — Touchstone

‘Touchstone’ emerged from Leeds Discovery Centre, where Emma stumbled across an artefact and was inspired by the caption – ‘small, squat, globular vase with frilled neck and three feet’. She was interested in the fact that the writing was specific, yet descriptive, and both formal and creative at the same time. This duality sparked the genesis of Emma’s project. From it spurred a cycle of production where Emma would respond to the description through drawing and making. Next, Emma complemented her creations with self-written captions, which acted as visual prompts. From drawings she would make objects, and from objects write descriptions, and so on...


BEN DAWSONIf I show you more, am I less?
Utilising realistic detail in his rendered imagery, this film tantalises you with moments of presumed reality. Nothing has been left to chance, Ben carefully and masterfully crafts a digital western dystopia as a catalyst to provoke a personal enquiry into how we construct ourselves online. In 13 minutes, Ben defies physics through shape-shifting bodies, vast sets, and dancing horses to demonstrate a fictional world in which our digital neophilia is questioned...



The eclecticism of the work adds a quality that shows the differences that the women all display while moments of synchronicity between them demonstrate a spiritual unanimity between the women. The chaotic layout and partial concealment of the words and imagery project the complexities of being a woman, how much is revealed and how much lies beneath the surface. It conjures up feelings of curiosity in the viewer, which invites the viewer to feel micro expressions of pain or discomfort, mirroring the emotions delivered in the writings...


HERMIONE OLDHAM  Virtual Holocaust Memory — 

It is forever necessary to show up the injustice and inhumanity of their oppressors, and prove that in spite of their efforts, hatred does not win. Hermione successfully drills home the urgent message of these memories - that, as Susie Lind concludes, even in the 21st-century, in all its ease and technology, we have still failed to learn the lessons of discrimination and hatred. This could not be more pertinent at this moment in time, with George Floyd’s murder amongst many, and injustices against people of colour coming to light through Black Lives Matter movement as a result. We are left troubled yet impassioned to remember ‘everybody has to learn to live with everybody else’..



TAYLOR LYTTLETON  Everything is Anything Else

Her practice usually concerns the conceptual investigation of the relationship between the photograph, sculpture and space, namely through specific engagements with varied environments, material elements and even within editorial photoshoots. Everything is Anything Else (2019) is no exception to this, as various sculptural materials converge to materialise and then explore the ‘photographed subject’s’ materialism and what’s at risk in the traditional photographic process...


RHIANA BONTERRE  To Shake and Disturb and Bring us Back to Ourselves

“To Shake and Disturb and Bring Us Back to Ourselves” is Rhiana Bonterre’s experimental film with elements of documentary, which explores the theme of spiritual connection through ways sensitive to individual and collective emotions. As the filmmaker describes herself: “guided by a variety of voices, the necessity for global black liberation becomes all the more urgent”...


JOHANNA SAUNDERSON  All this I saw sleeping

Experiencing All this I saw sleeping is fun - something I think is undervalued in contemporary arts - and feels like doing such a hopscotch. In the nonproprietary field Johanna is sunbathing in, the typical online barrage of vested self-interest fell away and I chose my own adventure. An old web is spun anew. Please try All this I saw sleeping, and choose yours too...


JESS TSANG  A sound is a substance, a substance is a sound 

Tsang’s objects range from disassembled instruments more commonly found in the percussionist’s toolkit like a crotale disc, a cymbal, a bow, and various mallets, but include objects from everyday purposes like a coarse wash-brush, a set of dishware, and a duo of mechanical bugs. These objects use the bass drum as a table and sound stage, and in this placement are magnified and multiplied by Tsang’s gestures...


KATE PAUL  Transformer fable/Testimonial

Sense is congealed through a bodily fiction rather than historical retelling. The staccato delivery forces me to listen to the sounds that Kate is creating with their mouth, the translation from text to image to sound. Although reminiscent of a linear narrative, I experience a gap in my own spatio-temporal reality. A circular –no! spirular!– tale is unfolding in multiple directions with manifold tongues flapping. I’m not a fixed point moving along a straight line. I’m a wildly rotating point undulating through a series of moments...


AMY JOWETT The Butterfy Effect

The Butterfly Effect is a collection of prints made by Amy Jowett that seem to present themselves at first sight as a record of movement within a space. Jowett used a coding program to allow for these notations and lines to come into existence virtually, and then printed them to bring them back into the physical realm. I asked them why it was important for the piece to fulfil its conception as a physical object, and they spoke about the importance of grounding these pieces in real life...


SARA SANI  Object of Disobedience

Sara Sani chose the Del-Em as a modern symbol of disobedience against those powers that exercise control over the female reproductive system. This suction device undertakes an important social role because it can easily be assembled by converting cheap objects available at home, like flexible tubes and preserves jars.
The physical reconstruction of this device suggests a reflection on the importance of women’s independence over a medicine characterised by the professionalisation and masculinisation of its practice. It is a re-appropriation of the feminine knowledge excluded by medicine, that was part of a tradition associated particularly to herbalists, midwives and witches..


ROSA SAWYERS  Is this yours? Can I have it?

The entire foundation of this project is made up of the discarded material made within the creative environment of university that we learnt so much in and looking through it has kickstarted my brain in such a way that makes the uncertainty of our current situation not so scary. I am reminded that there is a real joy in the process of making, in the process of researching, in the process of collecting and archiving and in the process of simply working stuff out. It can also be used to describe a lot of people's experiences right now, especially those in the graduating class of 2020 and well i dunno, i can't speak for anyone else but what i can say is having the chance to look through this project again has brought me a lot of joy...


THOMAS LAKE  Between Black and White there’s Grey — 

Through manipulating the light surrounding the sculptural object, Thomas’ images offer up shadows that seem discordant to our understanding of reality. This use of light, space and time subverts the historical tradition of truth within the black and white photographic image and instead overtly examines the presence of the abstract and the artificial that exist within any image..

Written by — ANNIE KING

HANNAH CARLILEThou Shalt Not Steal
Hannah argues the case for the role of copying to be recognised as one of the fundamentals of design, arguing that nothing is original and that ‘iconic creatives, [such as David Bowie, Picasso and Jim Jarmusch] who are deemed original by general consensus, openly argue that stealing and creativity go hand in hand.’ Every piece of design builds on something that came before it and in the same way, Hannah openly invites us to copy from and reinvent her own dissertation, publishing it online so it can be accessed read and edited by anyone...


FRANCESCA CAVOLINA — ‘Chopped Apple for Boo’ and ‘After Swimming’

Cavolina's painting practice intersects between our need to fictionalize our memories, and our spiritual mythological mediation on images and objects. In her work the detailing of stories are played out in paint, allowing glimpses into the dense haziness of forgetting and remembering. Cavolina presents a softness of paint which conjures a power and care for the mundane, and transmits their agency outwards from the canvas...

Written by BEN DAWSON


Jawara creates a space where women are being brutally honest and raw to the camera. The red lights juxtaposed with chaotic imagery show themes of aggression, impulsiveness, lust and violence. Through the constant jumps and overlapping of stills, you are reminded of the conflict between individual consciousness and the colonised mind...



‘Private View’ has enabled us to witness a snapshot of people’s lives during the most unusual but universal circumstances of the COVID-19 pandemic. Sophie has sought to allow individuals from around the world to express their experiences through a short written piece accompanied by a photograph of the view from their window – creating a unique insight into the lives of each person incorporated in the series. The intimate work Sophie has produced will be a permanent document of this extreme moment in time...