2015 Gallery

Aesthetic of Androgyny I, II and III

By Rosso Taylor

Manchester School of Art

There is nothing natural about gender identity. It is a process whereby we learn to take on certain attributes that we deem suitable to our understanding of ourselves in gender terms. I am exploring the subtle performance of androgyny. I tried to capture beauty, so ethereal it transcends both genders in a poetic way to imitate classical paintings.

Aesthetic of Androgyny I, II and III

By Rosso Taylor

Manchester School of Art

There is nothing natural about gender identity. It is a process whereby we learn to take on certain attributes that we deem suitable to our understanding of ourselves in gender terms. I am exploring the subtle performance of androgyny. I tried to capture beauty, so ethereal it transcends both genders in a poetic way to imitate classical paintings.

Aesthetic of Androgyny I, II and III

By Rosso Taylor

Manchester School of Art

There is nothing natural about gender identity. It is a process whereby we learn to take on certain attributes that we deem suitable to our understanding of ourselves in gender terms. I am exploring the subtle performance of androgyny. I tried to capture beauty, so ethereal it transcends both genders in a poetic way to imitate classical paintings.

Checka I, II and III

By Josephine Wilson

Leeds College of Art

I'm a portrait artist who is mainly based in London and has recently graduated in Fine Art at Leeds College of Art College of Art. My work explores the process of transforming photographic portraiture into handcrafted drawings, focusing on creating a likeness to the subject.

Checka I, II and III

By Josephine Wilson

Leeds College of Art

I'm a portrait artist who is mainly based in London and has recently graduated in Fine Art at Leeds College of Art College of Art. My work explores the process of transforming photographic portraiture into handcrafted drawings, focusing on creating a likeness to the subject.

Checka I, II and III

By Josephine Wilson

Leeds College of Art

I'm a portrait artist who is mainly based in London and has recently graduated in Fine Art at Leeds College of Art College of Art. My work explores the process of transforming photographic portraiture into handcrafted drawings, focusing on creating a likeness to the subject.

Checka I, II and III

By Josephine Wilson

Leeds College of Art

I'm a portrait artist who is mainly based in London and has recently graduated in Fine Art at Leeds College of Art College of Art. My work explores the process of transforming photographic portraiture into handcrafted drawings, focusing on creating a likeness to the subject.

Rich

By Steven Ellis

Leeds College of Art

Familiar materials are shown in an unfamiliar way, prolonging perception. Photo mount and graphite are combined, creating an imitation skin that ages over time. Bringing the homeless into this environment stems from volunteering in the community.

Angelina

By Steven Ellis

Leeds College of Art

Familiar materials are shown in an unfamiliar way, prolonging perception. Photo mount and graphite are combined, creating an imitation skin that ages over time. Diverse in age, gender, ethnicity and social stature, these portraits now share the same skin.

Man

By Steven Ellis

Leeds College of Art

Familiar materials are shown in an unfamiliar way, prolonging perception. Photo mount and graphite are combined, creating an imitation skin that ages over time. Diverse in age, gender, ethnicity and social stature, these portraits now share the same skin.

Girl

By Steven Ellis

Leeds College of Art

Familiar materials are shown in an unfamiliar way, prolonging perception. Photo mount and graphite are combined, creating an imitation skin that ages over time. Diverse in age, gender, ethnicity and social stature, these portraits now share the same skin.

Uttrykk I, II and III

By Elise Tyvand

Manchester School of Art

The work is an exploration of the relationship between our suppressed emotions and how they become visible through micro expressions. As we unfold our suppressive emotions with the use of paper and photography, we can see giveaways that our body language reveals through micro expressions. The fold hides and reveals.

Uttrykk I, II and III

By Elise Tyvand

Manchester School of Art

The work is an exploration of the relationship between our suppressed emotions and how they become visible through micro expressions. As we unfold our suppressive emotions with the use of paper and photography, we can see giveaways that our body language reveals through micro expressions. The fold hides and reveals.

Uttrykk I, II and III

By Elise Tyvand

Manchester School of Art

The work is an exploration of the relationship between our suppressed emotions and how they become visible through micro expressions. As we unfold our suppressive emotions with the use of paper and photography, we can see giveaways that our body language reveals through micro expressions. The fold hides and reveals.

The Tiger Who Came To Tea

By Sophie Keogh

Manchester School of Art

My work is inspired by fond memories of childhood, especially fairy tales that were read and often re-enacted with my sisters and cousins. This piece of work was inspired by one of my favourite childhood books and I wanted to tell the story with imagination and photography.

Plinth & Lollipops

By William Allen

Glasgow School of Art

My paintings can be somewhat reduced to a number of mannerisms used to create a language with which I hope to form a dialogue with the viewer. The imagery is centered around installation shots both found and my own. I try to unify these shapes and colours within an imagined space through oil paint.

Leipzig Homage

By William Allen

Glasgow School of Art

My paintings can be somewhat reduced to a number of mannerisms used to create a language with which I hope to form a dialogue with the viewer. The imagery is centered around installation shots both found and my own. I try to unify these shapes and colours within an imagined space through oil paint.

Behind The Scenes

By William Allen

Glasgow School of Art

My paintings can be somewhat reduced to a number of mannerisms used to create a language with which I hope to form a dialogue with the viewer. The imagery is centered around installation shots both found and my own. I try to unify these shapes and colours within an imagined space through oil paint.

Bunting

By William Allen

Glasgow School of Art

My paintings can be somewhat reduced to a number of mannerisms used to create a language with which I hope to form a dialogue with the viewer. The imagery is centered around installation shots both found and my own. I try to unify these shapes and colours within an imagined space through oil paint.

Jake Stark

By Checka Levi Morenos

Leeds College of Art

I am an oil painter working in conceptual portraiture. My work incorporates techniques ranging from traditional to contemporary, combining aesthetic qualities of both to explore psychology as expressed through the physical form. Emphasis is paid to my sitters' countenances.

Charlotte

By Checka Levi Morenos

Leeds College of Art

I am an oil painter working in conceptual portraiture. My work incorporates techniques ranging from traditional to contemporary, combining aesthetic qualities of both to explore psychology as expressed through the physical form. Emphasis is paid to my sitters' countenances.

Josie

By Checka Levi Morenos

Leeds College of Art

I am an oil painter working in conceptual portraiture. My work incorporates techniques ranging from traditional to contemporary, combining aesthetic qualities of both to explore psychology as expressed through the physical form. Emphasis is paid to my sitters' countenances.

Self Portrait (Burst)

By Checka Levi Morenos

Leeds College of Art

I am an oil painter working in conceptual portraiture. My work incorporates techniques ranging from traditional to contemporary, combining aesthetic qualities of both to explore psychology as expressed through the physical form. Emphasis is paid to my sitters' countenances.

In Bloom I, II and III

By Jodie Elliott

Manchester School of Art

In Bloom' is a project that explores men in their early twenties; a stage of transition and uncertainty. In these portraits of young males in domestic or natural environments I capture the beauty of masculinity from the perspective of a female photographer. The images reveal what is usually hidden beneath the surface - the intimate and unseen.

In Bloom I, II and III

By Jodie Elliott

Manchester School of Art

In Bloom' is a project that explores men in their early twenties; a stage of transition and uncertainty. In these portraits of young males in domestic or natural environments I capture the beauty of masculinity from the perspective of a female photographer. The images reveal what is usually hidden beneath the surface - the intimate and unseen.

In Bloom I, II and III

By Jodie Elliott

Manchester School of Art

In Bloom' is a project that explores men in their early twenties; a stage of transition and uncertainty. In these portraits of young males in domestic or natural environments I capture the beauty of masculinity from the perspective of a female photographer. The images reveal what is usually hidden beneath the surface - the intimate and unseen.

Status I, II, III and IV

By May Lavelle

Manchester School of Art

Regardless of the type of background we are from, we have spent a signifigant amount of formative years in school. The subjects represent school children with prominent roles and responsibilities together with leadership status. Were they given this role for outstanding contribution to their school, academic achievement, or simply their popularity?

Status I, II, III and IV

By May Lavelle

Manchester School of Art

Regardless of the type of background we are from, we have spent a signifigant amount of formative years in school. The subjects represent school children with prominent roles and responsibilities together with leadership status. Were they given this role for outstanding contribution to their school, academic achievement, or simply their popularity?

Status I, II, III and IV

By May Lavelle

Manchester School of Art

Regardless of the type of background we are from, we have spent a signifigant amount of formative years in school. The subjects represent school children with prominent roles and responsibilities together with leadership status. Were they given this role for outstanding contribution to their school, academic achievement, or simply their popularity?

Status I, II, III and IV

By May Lavelle

Manchester School of Art

Regardless of the type of background we are from, we have spent a signifigant amount of formative years in school. The subjects represent school children with prominent roles and responsibilities together with leadership status. Were they given this role for outstanding contribution to their school, academic achievement, or simply their popularity?

Special Offers

By Harriet Galilee

Leeds College of Art

My mixed media narrative drawings are based on my own personal experiences, student life and the modern London urban environment, which use caricatures of friends, family and strangers. Often I adapt my drawings to represent an exaggerated version of how I perceive these individual people and situations.

Living room

By Harriet Galilee

Leeds College of Art

My mixed media narrative drawings are based on my own personal experiences, student life and the modern London urban environment, which use caricatures of friends, family and strangers. Often I adapt my drawings to represent an exaggerated version of how I perceive these individual people and situations.

Blockwork - Orange

By Julie Kennedy

Leeds College of Art

My work is concerned with life reflected in nature and in particular the sea. Developing ideas from these natural elements together with personal experiences, I use drawing and sculpture to produce abstract pieces. Recent work evolved from a hand-carved wooden sculpture. I then made casts in plaster, bronze and copper Jesmonite.

Blockwork - Orange

By Julie Kennedy

Leeds College of Art

My work is concerned with life reflected in nature and in particular the sea. Developing ideas from these natural elements together with personal experiences, I use drawing and sculpture to produce abstract pieces. Recent work evolved from a hand-carved wooden sculpture. I then made casts in plaster, bronze and copper Jesmonite.

Blockwork - Triptych

By Julie Kennedy

Leeds College of Art

My work is concerned with life reflected in nature and in particular the sea. Developing ideas from these natural elements together with personal experiences, I use drawing and sculpture to produce abstract pieces. Recent work evolved from a hand-carved wooden sculpture. I then made casts in plaster, bronze and copper Jesmonite.

Pot Pourri

By Stephanie Bell

Glasgow School of Art

Using personal photographs I have constructed a kitsch collection of work that communicates our class-consciousness in modern day Britain. My interest lies in visually conveying everything from clothes to furnishings as they constantly define our lives.

Extinction of Xerces

By Jacenta Bevington

Manchester School of Art

My current practice depicts the fragility of insects’ ecosystems and how the human race is endangering the essential equilibrium of nature. Using digital media to create geometric mandala designs, depicting the delicate stages of metamorphous in butterflies, represents my art practice through illustration and the use of print.

Demolition of Gaia

By Jacenta Bevington

Manchester School of Art

My current practice depicts the fragility of insects’ ecosystems and how the human race is endangering the essential equilibrium of nature. Using digital media to create geometric mandala designs, depicting the delicate stages of metamorphous in butterflies, represents my art practice through illustration and the use of print.

Restoration of Hope

By Jacenta Bevington

Manchester School of Art

My current practice depicts the fragility of insects’ ecosystems and how the human race is endangering the essential equilibrium of nature. Using digital media to create geometric mandala designs, depicting the delicate stages of metamorphous in butterflies, represents my art practice through illustration and the use of print.

Bastet Holds The Key

By Nurdan Celik

Glasgow School of Art

In my work I explore the complex facets of our mind and personality. By creating abstract images with dots and reproduce them via screenprint, I originate my own geometrical pattern. This pattern provides the basis to draw out motives and forms that my mind transfers into the image. I then reconstruct them as paintings to allow the viewer an insight into my personality.

Heart

By Nurdan Celik

Glasgow School of Art

In my work I explore the complex facets of our mind and personality. By creating abstract images with dots and reproduce them via screenprint, I originate my own geometrical pattern. This pattern provides the basis to draw out motives and forms that my mind transfers into the image. I then reconstruct them as paintings to allow the viewer an insight into my personality.

Ghost (Thriller)

By Nurdan Celik

Glasgow School of Art

In my work I explore the complex facets of our mind and personality. By creating abstract images with dots and reproduce them via screenprint, I originate my own geometrical pattern. This pattern provides the basis to draw out motives and forms that my mind transfers into the image. I then reconstruct them as paintings to allow the viewer an insight into my personality.

Elephant - Totem

By Nurdan Celik

Glasgow School of Art

In my work I explore the complex facets of our mind and personality. By creating abstract images with dots and reproduce them via screenprint, I originate my own geometrical pattern. This pattern provides the basis to draw out motives and forms that my mind transfers into the image. I then reconstruct them as paintings to allow the viewer an insight into my personality.

Nathan

By Rebecca Snow

Glasgow School of Art

I paint from life - always from life. An authentic depiction only achievable in a relaxed environment; the sitter absorbed in an activity so I can observe. My friends bring books, laptops music to my studio for a couple of hours. By the end of this single sitting I hope to capture them - only then am I satisfied.

Bryony

By Rebecca Snow

Glasgow School of Art

I paint from life - always from life. An authentic depiction only achievable in a relaxed environment; the sitter absorbed in an activity so I can observe. My friends bring books, laptops music to my studio for a couple of hours. By the end of this single sitting I hope to capture them - only then am I satisfied.

Leo

By Rebecca Snow

Glasgow School of Art

I paint from life - always from life. An authentic depiction only achievable in a relaxed environment; the sitter absorbed in an activity so I can observe. My friends bring books, laptops music to my studio for a couple of hours. By the end of this single sitting I hope to capture them - only then am I satisfied.

Chemigram I and II

By Danielle Whitaker

Leeds College of Art

My practice stems from an interest in the chemical reactions that take place within alternative darkroom photography. I aim to demonstrate the cellular biological and interstellar qualities found in the techniques. From working in the darkroom I am able to create collections of Chemigrams where I am able to illustrate both characteristics.

Warehouse

By Chris Byrne

Glasgow School of Art

I view my work as relics and fragments of exploration. Looking at the remnants of industry on Glasgow School of Art’s Clydeside, my work details the themes surrounding these contemporary ruins, from the aesthetics of decay, the reclaiming of the space by culture and nature to the themes of time, both past and an imagining of the future, when all that is left from our way of life is the shells of the structures we leave behind.

Emptiness

By Chris Byrne

Glasgow School of Art

I view my work as relics and fragments of exploration. Looking at the remnants of industry on Glasgow School of Art’s Clydeside, my work details the themes surrounding these contemporary ruins, from the aesthetics of decay, the reclaiming of the space by culture and nature to the themes of time, both past and an imagining of the future, when all that is left from our way of life is the shells of the structures we leave behind.

Scotland Street

By Chris Byrne

Glasgow School of Art

I view my work as relics and fragments of exploration. Looking at the remnants of industry on Glasgow School of Art’s Clydeside, my work details the themes surrounding these contemporary ruins, from the aesthetics of decay, the reclaiming of the space by culture and nature to the themes of time, both past and an imagining of the future, when all that is left from our way of life is the shells of the structures we leave behind.

Roddin

By Stephen Joynson

Manchester School of Art

My practice reflects my relationship with both the city (where I live now) and in the countryside (where I have always lived). Using predominatly natural materials, paint, acrylic, applied molten metals and a router to draw, I aim to question and explore their properties and within these, the dynamics of chance.

Untitled

By Isabelle Gee

Leeds College of Art

Focussing on themes of manipulation and distortion, this work aims to reflect upon the introductionof autonomous art, by the trasformation of realist forms. I am fascinated by the engagement of the audience and the opportunity for diverse interpretation.

Abstract Series I and III

By Isabelle Gee

Leeds College of Art

Focussing on themes of manipulation and distortion, this work aims to reflect upon the introductionof autonomous art, by the trasformation of realist forms. I am fascinated by the engagement of the audience and the opportunity for diverse interpretation.

Abstract Series I and III

By Isabelle Gee

Leeds College of Art

Focussing on themes of manipulation and distortion, this work aims to reflect upon the introductionof autonomous art, by the trasformation of realist forms. I am fascinated by the engagement of the audience and the opportunity for diverse interpretation.

Reveal

By Sarah Powell

Manchester School of Art

This work is informed by ideas around the act of applying medium to surface. I aim to question the traditional means of a painting and its relevance within art today. I am continually interested in the skin-like properties of paint and creating anthropomorphic canvases, that allude to human emotions.

Scaffold and Sc st.

By Gregor Henderson

Glasgow School of Art

A series of stencil works drawn from derelict and abandoned urban architecture, exploring decay and nature’s reclamation of altered space. The process of layering cut paper reinterprets the spatializing practice of Scotland’s graffiti writers and merges the dimensional boundaries imposed by the utilisation of a fundamentally flat medium.

Scaffold and Sc st.

By Gregor Henderson

Glasgow School of Art

A series of stencil works drawn from derelict and abandoned urban architecture, exploring decay and nature’s reclamation of altered space. The process of layering cut paper reinterprets the spatializing practice of Scotland’s graffiti writers and merges the dimensional boundaries imposed by the utilisation of a fundamentally flat medium.

Carpark Series 01

By Penny Mercer

Manchester School of Art

Our movements around a city are already dictated for us whether that be visually or physically. Locations where these collide are car parks. I have visited a number around the north west of England, photographing them at night using long exposures to capture the unnoticed beauty they hold within.

Carpark Series 01

By Penny Mercer

Manchester School of Art

Our movements around a city are already dictated for us whether that be visually or physically. Locations where these collide are car parks. I have visited a number around the north west of England, photographing them at night using long exposures to capture the unnoticed beauty they hold within.

Carpark Series 01

By Penny Mercer

Manchester School of Art

Our movements around a city are already dictated for us whether that be visually or physically. Locations where these collide are car parks. I have visited a number around the north west of England, photographing them at night using long exposures to capture the unnoticed beauty they hold within.

Eat The Vegan, Kevin

By Laura Hopkinson

Manchester School of Art

It is nonsense. It is meaningless. It is serious and unserious at the same time. Through focusing and dissolving language, I am working with my beliefs that nonsense and humour are an important part of art and life today, and I preserve and present it in an unhurried conclusive way.

Bagels or Men, Wine Lovers?

By Laura Hopkinson

Manchester School of Art

It is nonsense. It is meaningless. It is serious and unserious at the same time. Through focusing and dissolving language, I am working with my beliefs that nonsense and humour are an important part of art and life today, and I preserve and present it in an unhurried conclusive way.

Us

By Laura Hopkinson

Manchester School of Art

It is nonsense. It is meaningless. It is serious and unserious at the same time. Through focusing and dissolving language, I am working with my beliefs that nonsense and humour are an important part of art and life today, and I preserve and present it in an unhurried conclusive way.

The Nudes Don’t Care

By Laura Hopkinson

Manchester School of Art

It is nonsense. It is meaningless. It is serious and unserious at the same time. Through focusing and dissolving language, I am working with my beliefs that nonsense and humour are an important part of art and life today, and I preserve and present it in an unhurried conclusive way.

Poking Fun

By Laura Hopkinson

Manchester School of Art

It is nonsense. It is meaningless. It is serious and unserious at the same time. Through focusing and dissolving language, I am working with my beliefs that nonsense and humour are an important part of art and life today, and I preserve and present it in an unhurried conclusive way.

Bzzz

By Laura Hopkinson

Manchester School of Art

It is nonsense. It is meaningless. It is serious and unserious at the same time. Through focusing and dissolving language, I am working with my beliefs that nonsense and humour are an important part of art and life today, and I preserve and present it in an unhurried conclusive way.

Do Pythons?

By Laura Hopkinson

Manchester School of Art

It is nonsense. It is meaningless. It is serious and unserious at the same time. Through focusing and dissolving language, I am working with my beliefs that nonsense and humour are an important part of art and life today, and I preserve and present it in an unhurried conclusive way.

Technetium - 99 No 1, 2, 3 and 4

By Seren Wen Radley

Manchester School of Art

Technetium-99: 'The chemical is found in radioactive waste sites; once absorbed by humans, accumulates in the thyroid gland and intestinal tract, greatly increases cancer risk.' Set in Sellafield, Cumbria, these photographs explore the polluted landscape, highlighting the invisible poisonous presence of atomic pollution.

Technetium - 99 No 1, 2, 3 and 4

By Seren Wen Radley

Manchester School of Art

Technetium-99: 'The chemical is found in radioactive waste sites; once absorbed by humans, accumulates in the thyroid gland and intestinal tract, greatly increases cancer risk.' Set in Sellafield, Cumbria, these photographs explore the polluted landscape, highlighting the invisible poisonous presence of atomic pollution.

Technetium - 99 No 1, 2, 3 and 4

By Seren Wen Radley

Manchester School of Art

Technetium-99: 'The chemical is found in radioactive waste sites; once absorbed by humans, accumulates in the thyroid gland and intestinal tract, greatly increases cancer risk.' Set in Sellafield, Cumbria, these photographs explore the polluted landscape, highlighting the invisible poisonous presence of atomic pollution.

Technetium - 99 No 1, 2, 3 and 4

By Seren Wen Radley

Manchester School of Art

Technetium-99: 'The chemical is found in radioactive waste sites; once absorbed by humans, accumulates in the thyroid gland and intestinal tract, greatly increases cancer risk.' Set in Sellafield, Cumbria, these photographs explore the polluted landscape, highlighting the invisible poisonous presence of atomic pollution.

Opposites Attract

By Eloise Victoria Craven

Manchester School of Art

I explore movement and colour, focusing on the way these two main principles flirt and interact with each other in a process that conveys the relationship between the paint and myself. I aim to create a coherent juxtaposition through movement and instinct, which, along with differences in texture and colour, allows a rhythm of emotional energy to surge throughout.

Guilty

By Eloise Victoria Craven

Manchester School of Art

I explore movement and colour, focusing on the way these two main principles flirt and interact with each other in a process that conveys the relationship between the paint and myself. I aim to create a coherent juxtaposition through movement and instinct, which, along with differences in texture and colour, allows a rhythm of emotional energy to surge throughout.

Moire and Moire II

By Juliet Napier

Glasgow School of Art

Moiré and Moiré II are inspired by my interest in creating moiré patterns through the process of photographing computer screens. The imagery attempts to create an optical effect and explores the relationship between digital media and painting. The paintings are representations of a digital reality within a physical context.

Moire and Moire II

By Juliet Napier

Glasgow School of Art

Moiré and Moiré II are inspired by my interest in creating moiré patterns through the process of photographing computer screens. The imagery attempts to create an optical effect and explores the relationship between digital media and painting. The paintings are representations of a digital reality within a physical context.

Shop

By Albert Elm

Glasgow School of Art

I'm working from intuition and the urge to examine my life and suroundings. My photograghs describe what particular places or situations are like, at particular times. As an attempt to understand the world around me better, I make images of what I think contemporary life looks and feels like.

If you have any questions please email [email protected].