Beyond the Boundaries

This exhibition zine showcases the diverse and exciting work created by the MA Fine Art artists at UCA Farnham. In a time of uncertainty and under radical constraints, we have found new ways to communicate and manifest our diverse practices. Exploring the newly emerging social and cultural energies, the work seeks ways of transcending conventions, the limitations of ideologies and restrictive belief systems.

This exhibition zine showcases the diverse and exciting work created by the MA Fine Art artists at UCA Farnham. In a time of uncertainty and under radical constraints, we have found new ways to communicate and manifest our diverse practices. Exploring the newly emerging social and cultural energies, the work seeks ways of transcending conventions, the limitations of ideologies and restrictive belief systems.


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tHe<br />

Beyon<br />

d Bound<br />


Contents<br />

1 -19 Artwork Images<br />

20-34 Artwork Text

A Space for Thinking<br />

1/38<br />

Robert Adlam

Set in Stone<br />

2/37<br />

Dana Phillips

Becoming Geology<br />

3/36<br />

Liz Clifford

What We Leave Behind Dean Wright<br />


Introduction<br />

5/34<br />

Robyn Jacobs

In Touch<br />

6/33<br />

Stef Will

Hidden Room<br />

7/32<br />

Lucy Bevin

Iron Lung<br />

8/31<br />

Rups Cregeen

What Will Be Left?<br />

9/30<br />

Thomas Best

Six Centuries<br />

10/29<br />

Dawn Langley

The Final Frontier<br />

11/28<br />

Michael Kelly

Future Ancestral Connections<br />

12/27<br />

Noelle Genevier

Stories of an Unknown World<br />

13/26<br />


Pull <strong>the</strong> Plug<br />

Ca<strong>the</strong>rine McCaw- Aldworth<br />


Time When Time Stops<br />

15/24<br />

Li An Lee

All Things<br />

16/23<br />

Janet McWilliam

Museum of Post-Apocalyptic Evolution<br />

Exhibit #PA8379<br />

17/22<br />

Kate Madden

Too Much in <strong>the</strong> Brain<br />

18/21<br />

Zihao Wang

What Happens if we Could<br />

Actually Go <strong>Beyond</strong>?<br />

Mofe Demuren<br />


From a metaphysical standpoint, a boundary can be<br />

seen to be a mental limit or barrier, created by <strong>the</strong><br />

host. It not only to signifies <strong>the</strong> dimensions of <strong>the</strong>ir ‘safe<br />

zone’, but also <strong>the</strong> acknowledgement and existential<br />

point of complete vulnerability and ignorance.<br />

Complete and utter darkness.<br />

Brené Brown said this about vulnerability in her book<br />

‘Rising Strong’,<br />

“Vulnerability is not winning or losing; it’s having<br />

<strong>the</strong> courage to show up and be seen when<br />

we have no control over <strong>the</strong> outcome.<br />

Vulnerability is not weakness; it’s our greatest measure<br />

of courage.”<br />

​I constantly measure my life by looking introspectively<br />

at my battles with expectations, through <strong>the</strong><br />

manipulation of boundaries. This year, <strong>the</strong> Earth<br />

was met with an immovable expectation that<br />

provided complex and ever-changing boundaries.<br />

Annihilate COVID-19.<br />

This exhibition to me, is an exploration into <strong>the</strong> mental<br />

abyss that exists beyond our current limitations.<br />

What happens if we could actually go beyond?<br />

What Happens if<br />

we could Actually<br />

Go <strong>Beyond</strong>?<br />

Mofe Demuren<br />


Through <strong>the</strong> description of <strong>the</strong> pain of people with<br />

too much thinking, we can expose <strong>the</strong> fact that<br />

capitalists oppress <strong>the</strong> people. To call on people to<br />

reduce <strong>the</strong>ir ideas, accept and re like <strong>the</strong>ir ordinary<br />

and imperfect. Let people no longer live in <strong>the</strong><br />

perfect standard set by capitalists, so that <strong>the</strong>y can<br />

get rid of <strong>the</strong> consumption trap set by capitalists.<br />

This will make <strong>the</strong>ir lives better and easier.<br />

Too MucH in tHe<br />

Brain<br />

Zihao Wang<br />


First survivors converged in non-familial, nomadic<br />

groups. With previous rituals and routines gone,<br />

a new way was found to memorialise loved ones<br />

who died while travelling. A segment of humerus<br />

or femur was taken from <strong>the</strong> corpse and split<br />

lengthways down <strong>the</strong> centre (<strong>the</strong> nutritious<br />

marrow given to children or <strong>the</strong> sick). The bone<br />

was cleaned, dried and polished, often with sand.<br />

Sometimes it was carved or written on. Lengths<br />

of fibre were tied around shards of pottery, metal<br />

or class – anything that would sound a note when<br />

<strong>the</strong>y collided – and attached to <strong>the</strong> lower part of <strong>the</strong><br />

bone, which was embellished with items belonging<br />

to or associated with <strong>the</strong> deceased, making each<br />

chime unique. These bone chimes were wrapped<br />

in cloth and only hung, usually in trees, when <strong>the</strong><br />

group had halted and felt secure. Many chimes<br />

hung toge<strong>the</strong>r signified a peaceful settlement<br />

Museum of Post-<br />

ApocaLyptic<br />

EvoLution ExHibit<br />

#PA8379<br />

Kate Madden<br />


This latest work is a fur<strong>the</strong>r exploration into <strong>the</strong><br />

morphing of role and identity;of ‘progression’/<br />

changing ideas set against <strong>the</strong> complexities<br />

of modern life. The three canvases have been<br />

removed from <strong>the</strong>ir stretchers and hung<br />

from oversized clo<strong>the</strong>s hangers giving <strong>the</strong><br />

work a domesticated aes<strong>the</strong>tic and yet at <strong>the</strong><br />

same time <strong>the</strong> layered content presents an<br />

altoge<strong>the</strong>r more complex and ‘unfinished’ notion.<br />

ALL THings<br />

Janet McWilliam<br />


I am a mixed media artist working with paint,<br />

photography, words and sculpture. All my<br />

work centres around <strong>the</strong> concept of hope<br />

and suffering especially in relation to Black<br />

Swan Events, articulating pain and offering<br />

an alternative hopeful future. That is to say,<br />

no matter what pain, despite how we envision<br />

<strong>the</strong> way things will go, it can always be turned<br />

into good. My works allude to something<br />

greater impacting our lives inputting traits<br />

such a love, encouragement, joy, etc. but also<br />

being a guardian protector. The photographs<br />

are of my children; in whom I pour beauty,<br />

bravery, and encouragement. Championing<br />

<strong>the</strong>m on but also in a detached way, whilst<br />

always watching and observing and protecting.<br />

Time WHen Time<br />

Stops<br />

Li An Lee<br />


Ca<strong>the</strong>rine’s work and practice focuses around<br />

<strong>the</strong> connection between <strong>the</strong> body and domestic,<br />

exploring <strong>the</strong> relationships our bodies and our<br />

discarded materials have within <strong>the</strong> physical<br />

home. She also finds interest in exploring ideas<br />

around a metaphorical home, a non-domestic<br />

space such as heaven. The phrase ‘Pull <strong>the</strong> Plug’<br />

means to stop something from happening, allowing<br />

something to escape or fall through. A plug inside<br />

<strong>the</strong> sink ga<strong>the</strong>rs all <strong>the</strong> food debris so it doesn’t<br />

clog <strong>the</strong> drain. A plug in <strong>the</strong> bath allows <strong>the</strong> water<br />

to fill up so we can wash ourselves, it harbours our<br />

discarded cells of <strong>the</strong> body. A plug is <strong>the</strong> opening<br />

between <strong>the</strong> domestic space and <strong>the</strong> systems<br />

below that transport our discarded materials to<br />

o<strong>the</strong>r spaces, often back to <strong>the</strong> ocean. Of course,<br />

<strong>the</strong> contaminated water remnants from <strong>the</strong> drains<br />

are treated first but tiny particles of ourselves<br />

goes through all <strong>the</strong> systems and filters to end up<br />

in <strong>the</strong> grander scheme of <strong>the</strong> world, in this ocean,<br />

just floating around waiting. This piece of an<br />

extra-large plug thinks about <strong>the</strong> larger discarded<br />

parts of our bodies especially in COVID-19 times<br />

but also what’s clogged up inside and where<br />

we end up in <strong>the</strong> grander scheme of <strong>the</strong> world.<br />

PuLL tHe PLug<br />

Ca<strong>the</strong>rine McCaw-Aldworth<br />


Stories of an Unknown World is a long multiinteractive<br />

work, that explores <strong>the</strong> imaginary<br />

and different realities through storytelling.<br />

Explores a complex world with references<br />

in escapism, mental health, and embodied<br />

emotions. Can you discover <strong>the</strong> deeper<br />

meanings behind each character? Is it real?<br />

Stories of an<br />

Unkown WorLd<br />

NanoHour<br />


This work is looking at intricate connections<br />

and associations we have and need to develop<br />

fur<strong>the</strong>r with our surroundings. It is looking at<br />

<strong>the</strong> layers of information that are contained<br />

in a single viewpoint or image. The work tries<br />

to look in depth and beyond what is physically<br />

possible and at underlying constructs which<br />

could develop a new way of looking at <strong>the</strong> world.<br />

Future AncestraL<br />

Connections<br />

Noelle Genevier<br />


Michael Kelly’s works (acrylics on canvas)<br />

explore <strong>the</strong> boundaries of <strong>the</strong> near future and<br />

its technological possibilities and failures. The<br />

triptych presented, each on an apparent space<br />

<strong>the</strong>me, explore using a mystery narrative <strong>the</strong><br />

issues <strong>the</strong> future presents to mankind. The viewer<br />

is invited to construct <strong>the</strong>ir own narrative using<br />

<strong>the</strong> images depicted – all narratives are valid.<br />

THe FinaL Frontier<br />

Michael Kelly<br />


In <strong>the</strong> 18th & 19th Centuries a number of pioneering<br />

women established <strong>the</strong>mselves as significant<br />

still lifepainters. Often unable to enter <strong>the</strong><br />

Academies <strong>the</strong>y were also prohibited from<br />

observing and painting <strong>the</strong> human body. Several<br />

of <strong>the</strong>m made successful careers as painters of<br />

what was regarded as <strong>the</strong> lesser form of ‘still life’<br />

painting. Some three centuries separate <strong>the</strong>ir<br />

work from mine and much of <strong>the</strong>ir work is only<br />

known to me by virtue of <strong>the</strong>ir digital afterlives.<br />

This leads me to wonder what might follow<br />

in three centuries from now. Will machine<br />

learning and AI have taken us past <strong>the</strong><br />

Singularity to <strong>the</strong> point where computing<br />

has independent imagination and creativity?<br />

Six Centuries<br />

Dawn Langley<br />


What will be left? reappropriates <strong>the</strong><br />

language of consumerism and moves it<br />

into a new space, where it serves as both a<br />

warning and a statement of hopelessness.<br />

WHat WiLL Be Left?<br />

Thomas Best<br />


The thin skin of <strong>the</strong> wea<strong>the</strong>r balloon bulges<br />

through its rigid steel restraints. It feels<br />

imprisoned; impotent against an immovable<br />

structure. The skin is filled with air. Air: our life<br />

force that has been immobilised, incarcerated,<br />

behind arbitrary walls. Now <strong>the</strong> air’s lifeforce<br />

is weakened, exhausted, and frustrated.<br />

The iron lung was traditionally used to treat<br />

patients unable to brea<strong>the</strong> for <strong>the</strong>mselves, often<br />

due to diseases such as polio. It had<br />

been abandoned in favour of more modern<br />

breathing apparatuses, however, since <strong>the</strong><br />

rise of covid-19, <strong>the</strong>re has been a renewed<br />

interest in <strong>the</strong> concept of <strong>the</strong> iron lung, which<br />

assists breathing through a negative pressure<br />

system. In order to receive <strong>the</strong> treatment, a<br />

patient is imprisoned in an iron cylinder for<br />

approximately two weeks, until recovery or death.<br />

In parallels with <strong>the</strong> current government advice<br />

surrounding covid, we can become trapped; our<br />

personal liberty is sacrificed for <strong>the</strong> greater good.<br />

Iron Lung<br />

Rups Cregeen<br />


The work depicts an interior space, rooms within<br />

a house seemingly devoid of its inhabitants. The<br />

emptiness is filled when <strong>the</strong> house as object<br />

becomes a threshold space for memories,<br />

feelings and experiences, <strong>the</strong>se become activated<br />

by being in or with that threshold space.<br />

The viewer looks in but from where? From ano<strong>the</strong>r<br />

room? From outside? The obscured view of <strong>the</strong><br />

interior space brea<strong>the</strong>s a feeling of intrusion and<br />

at <strong>the</strong> same time that of isolation or abandonment.<br />

The work addresses notions of care and<br />

vulnerability and <strong>the</strong> fuction of home. The house<br />

beomes a second skin, a part of self. The space<br />

seems lost, hidden and like a lost memory, difficult<br />

to access or retrieve. The wall behind<br />

which <strong>the</strong> hidden spaces exist may<br />

represent ‘what was or what is’.<br />

Hidden Room<br />

Lucy Bevin<br />


The skin is an important marker of our identity and<br />

something we take pleasure to define. However,<br />

with <strong>the</strong> current movement towards enforced<br />

personal territories, mediated by measures such<br />

as social distancing and mandatory masks, we live<br />

in a society where <strong>the</strong> boundary between ourselves<br />

and o<strong>the</strong>rs is increasingly being demarcated.<br />

The cultural defence of our corporal boundaries<br />

enforces <strong>the</strong> concept of our skin as a firm border<br />

that delineates our body. But does our body really<br />

end at <strong>the</strong> skin? Or should we view our skin more as<br />

a blurry, porous outlining, taking into consideration<br />

that our body’s personal electromagnetic<br />

energy field outspreads <strong>the</strong> skin by about 3 feet?<br />

The concept of our skin as a firm border<br />

that effectively separates us from o<strong>the</strong>rs is<br />

contested by taking a look at <strong>the</strong> measurable<br />

interaction of our bio-field with that o<strong>the</strong>rs,<br />

ultimately blurring <strong>the</strong> distinction between ‘self’<br />

and <strong>the</strong> ‘<strong>the</strong> o<strong>the</strong>r’. When acknowledging this<br />

energetic dialogue, we direct attention away<br />

from <strong>the</strong> notion of dividing opposites, but sense<br />

an intimate interconnectedness between us.<br />

In ToucH<br />

Stef Will<br />


Introduction centres around a narrative that<br />

reveals and introduces a collection of found<br />

objects. The common thread that runs through<br />

<strong>the</strong> collection is <strong>the</strong> conditions and essence by<br />

which <strong>the</strong>y are found. Discovery is made through<br />

a ritual of activity, where intention is minimal.<br />

Not wanting to replicate an archaeological dig,<br />

<strong>the</strong> work is presented in a form that does not<br />

have <strong>the</strong> answers but instead asks <strong>the</strong> questions.<br />

Playing with numerous responses to <strong>the</strong> objects,<br />

this work focuses on bringing <strong>the</strong> experiments<br />

toge<strong>the</strong>r in a coherent form to highlight <strong>the</strong> desire<br />

for exploration and learning. It is a process<br />

of becoming and <strong>the</strong> beginning of <strong>the</strong> story.<br />

Introduction<br />

Robyn Jacobs<br />


My collages started with a workshop we had<br />

with <strong>the</strong> University early in <strong>the</strong> course, and<br />

it was something I continued to work on due<br />

to how much I enjoyed <strong>the</strong> way that <strong>the</strong>y<br />

allowed me to combine all of <strong>the</strong> different<br />

facets of my work into a new piece of art.<br />

These collages explored <strong>the</strong> idea of simply just<br />

imposing shapes of texture over an image.<br />

WHat We Leave<br />

BeHind<br />

Dean Wright<br />


This work, Becoming Geology, is concerned<br />

with humanity’s significant and increasing<br />

modification of Earth systems. That breaching of<br />

<strong>the</strong> boundaries, leading to bio-diversity collapse,<br />

climate breakdown and health pandemics.<br />

Evidence is ga<strong>the</strong>red by large scale research<br />

projects as well as by amateur observers of<br />

local phenomena. All materials in this work were<br />

found by <strong>the</strong> artist in a specific rural location and<br />

are presented in <strong>the</strong> proportion 1:10 biomass to<br />

human-generated deposits. Four free-standing<br />

structures constructed from stacked gabion<br />

baskets are filled with rock, concrete, plastic and<br />

metal detritus, as well as living organic material.<br />

Becoming GeoLogy<br />

Liz Clifford<br />


Photographs are such an important part of<br />

continuing <strong>the</strong> memories, continuing <strong>the</strong> bonds<br />

through time. These photographs are painted<br />

onto a Victorian garden wall, set into <strong>the</strong> layers<br />

of <strong>the</strong> stone just as <strong>the</strong> memories are set<br />

within me, traveling <strong>the</strong> generations and still<br />

making <strong>the</strong>ir presence known. The wall upon<br />

which <strong>the</strong>y are painted is as old as <strong>the</strong>y, for it<br />

seems both share <strong>the</strong> history of wea<strong>the</strong>red<br />

storms, changing times and present moments.<br />

The faded images reveal <strong>the</strong>ir earthly ruins,<br />

for <strong>the</strong>y still remain imprinted on my heart.<br />

Set in Stone<br />

Dana Phillips<br />


Adlam’s work explores <strong>the</strong> conditions that<br />

need to be satisfied in order for a work of<br />

conceptual art to exist. To address this he<br />

studied <strong>the</strong> philosophy of conceptual art which<br />

he supplemented with additional texts on <strong>the</strong><br />

history of its development. As a result he<br />

imagined a distinct form of art characterised<br />

as ‘psycho-philosophical’: his intention was<br />

to generate an ethically informed body of<br />

work which simultaneously expressed <strong>the</strong><br />

distinctly personal meaning of ‘things’ and<br />

<strong>the</strong> philosophical issues which <strong>the</strong>y surface.<br />

A Space For<br />

THinking<br />

Robert Adlam<br />


Featured Artists<br />

Robert Adlam<br />

Thomas Best<br />

Lucy Bevin<br />

Liz Clifford<br />

Rups Cregeen<br />

Mofe Demuren<br />

Noelle Genevier<br />

Robyn Jacobs<br />

Michael Kelly<br />

Dawn Langley<br />

Li An Lee<br />

Ca<strong>the</strong>rine McCaw-Aldworth<br />

Janet McWilliam<br />

Kate Madden<br />

NanoHour<br />

Dana Phillips<br />

Zihao Wang<br />

Stef Will<br />

Dean Wright<br />

THank you<br />

Andrea Gregson<br />

UCA Farnham<br />

@Undertow Projects<br />

This publication is typed with:<br />

Chivo<br />

Solide Mirage https://velvetyne.fr/authors/jjjlllnnn/

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