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MA Degree Show Bath School of Art and Design 2019 (Bat Spa University)

The 2019 MA Degree catalogue featuring master's students work from Curatorial Practice, Ceramics, Fashion and Textiles, Fine Art and Visual Communication. Designed by Grazia Campanella and Simon Taylor. The identity was influenced by the new Bath Spa School of Art and Design campus at Locksbrook Road. The site was originally a Herman Miller Furniture Factory and was designed by renowned architect Nicholas Grimshaw. Herman Miller’s design philosophy can be summed up in their mission statement ‘Inspiring designs to help people do great things’. This is something that is considered in all Herman Miller product designs and developments. It is also at the centre to all of their external design collaborations. It seems apt that the building is now an art school continuing the development of making and creating. It was a pleasure to study within the action factory environment, particularly the photographic darkrooms and printing and etching workshops. Simon Taylor Visual Artist

The 2019 MA Degree catalogue featuring master's students work from Curatorial Practice, Ceramics, Fashion and Textiles, Fine Art and Visual Communication. Designed by Grazia Campanella and Simon Taylor. The identity was influenced by the new Bath Spa School of Art and Design campus at Locksbrook Road. The site was originally a Herman Miller Furniture Factory and was designed by renowned architect Nicholas Grimshaw. Herman Miller’s design philosophy can be summed up in their mission statement ‘Inspiring designs to help people do great things’. This is something that is considered in all Herman Miller product designs and developments. It is also at the centre to all of their external design collaborations. It seems apt that the building is now an art school continuing the development of making and creating. It was a pleasure to study within the action factory environment, particularly the photographic darkrooms and printing and etching workshops. Simon Taylor Visual Artist

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EXHIBITION CATALOGUE


CONTENTS

007

FOREWORD

009

CERAMICS

Dr Conor Wilson

Course Leader

010

012

014

016

Amy Daniels

Chen Li

Nicola Lidstone

Yixuan Lu

019

CURATORIAL PRACTICE

Dr Ben Parry

Course Leader

020

022

024

026

028

030

Alison Jane Hoare

Rachel Jones

Lucy Pidgeon

Judith Rodgers

Shubhani Sharma

Ellice Thomas-Bishop

033

FASHION AND TEXTILES

Nick Thomas

Acting Course Leader

034

036

038

040

Katie Barrass

Millie Clake

Anna David

Emma Fallon


043

FINE ART

091

CREDITS

Dr Andrea Medjesi-Jones

Course Leader

095

Herman Miller in Bath

044

William Baker

046

Zo-I Chen

048

Julie Dean

050

Jonny Falkus

052

Lucy Gunningham

054

Tomoe Higashi

056

Samantha Horn (O’Neil)

058

Anna Kot

060

Helen McCormick

062

Vicky McKay

064

Kelly O’Brien

066

Thomas Tomasska

068

Kaitlin Trowbridge

070

Nicola Turner

072

Esther Tyler-Ward

074

Shadrokh Vahabzadeh

077

VISUAL COMMUNICATION

Dr Andrew Southall

Course Leader

078

Grazia Campanella

080

Chaohan Jin

082

Andrew Jones

084

David Norfolk

086

Simon Taylor

088

Po-Cheng Yan

005


FOREWORD


Dan Allen and Kerry Curtis

Head of Bath Schools of Art & Design

Established in the 1850s, the Bath Schools of Art

and Design form an integral part of Bath Spa University,

with a proud and distinguished history of producing highly

successful artists, designers, curators and thinkers who have

contributed to creativity and society in extraordinary ways.

Through the curated Masters 2019 Degree Show, our

inaugural public event at the new Locksbrook Campus, it is

with great pleasure that we celebrate the achievements of

our masters students from our courses in Curatorial Practice,

Design: Ceramics, Design: Fashion and Textiles, Fine Art and

Visual Communication.

We are proud to see our postgraduate students

launching the first degree show in the remarkable Grade

II listed building. Sir Nicholas Grimshaw originally

designed the notable building for Herman Miller, the

American furniture manufacturers in 1976. Grimshaw

Architects have worked closely with Bath Spa University

to transform the iconic architecture into an extraordinary

facility for artists and designers to flourish.

We wish our new graduates every success in making

their unique contributions to the creative, cultural and

economic landscape of the UK and beyond as they progress

to the next stage of their professional careers, joining the

illustrious alumni of the Bath Schools of Art and Design.

007



Dr Conor Wilson, Course Leader

CERAMICS

We are interested in, and open to, all approaches to

working with clay. Our focus is on developing strategies

for practice that emerge out of material investigation and

related research. Outcomes from process might be text,

drawing, photographic image, performance, moving image,

installation, or discrete ceramic objects. Our key concerns

are with facture – the way something is made – and with

developing an intimate engagement, through making, with

materials, sites and people. We work within an expanded

field. Ceramics, as a discipline, is something to respond to;

to define, to challenge, to stretch, but not to ignore.

Our graduating students this year are from China

and the UK and each has found their own unique approach

to engaging with clay; each driven by particular interests

that inform production. The exhibition includes inter- and

transdisciplinary investigations into clay as a material, and

therapeutic touch; socio-political comment on a rapidly

changing China and a cross-cultural joy in natural forms.

It has been a real pleasure to be part of a team of

course tutors, external visiting lecturers and technical staff

all have played a vital part in supporting the development of

these exciting new bodies of work.

009


Amy Daniels

Drip, splash, drop, pour, flow, pull, crack, tear, peel,

bubble, burst…

Through systematic investigations I have developed this

collection aiming to encourage movement in the firing process.

I am drawn towards a deep exploration of the ceramic process

and the minerals that make up clay and glaze materials. I am

in search of a point of collapse, breaking, tipping, melting,

pouring or exploding; breaking rules and discovering the

limitations of my materials, in search of a transition point

between order and chaos.

The process of continual change, flow and

impermanence have become central to my thinking.

Complexity is a term that is used to describe the transition

zone within any system where multiple parts interact. I want to

capture a dynamic transition extracted from complex rules.

In his book Complexity: The Emerging Science at the

Edge of Order and Chaos, Waldrop states ‘The edge of chaos

is the constantly shifting battle zone between stagnation

and anarchy, the one place where a complex system can be

spontaneous, adaptive and alive’ (Waldrop M 1992: 12).

I am trying to capture a dynamic movement and

tension by exploring a shared interaction between myself,

the materials, and the fundamental forces that govern our

universe.

CERAMICS

010


011


Chen Li

When I first came into contact with ceramics, I quite

liked the different textures of the clay surface, but this texture

is often not reflected in many ceramic works. Coloured clay

gives me the possibility that it not only reflects the texture

of the clay but also has more opportunities in colour.While

continuing to study the coloured clay, and through it to

present my thinking and attitude become the direction I will

explore next.

475999107@qq.com

chen.li17@bathspa.ac.uk

CERAMICS

012


013


Nicola Lidstone

I am a ceramicist and a physiotherapist. I undertook an

MA curious to see if combining both disciplines could create new

ways of knowing.

My approach is that of artistic interpretation of

physiotherapeutic knowledge - bringing scientific experience into

an art experience.

My work aims to investigate how touch as a tool could

generate new approaches to mark making techniques, alongside

new methods for visualising and understanding physiotherapy.

My methods involve performing therapeutic techniques

onto clay formed upon participants’ bodies. Through this I

observe development of my own personal therapeutic somatic

gesture; thinking through drawing, ‘seeing’ with my fingers,

mapping and actualizing components of my approach.

nicolalidstone@gmail.com

nicola.lidstone16@bathspa.ac.uk

CERAMICS

014


Manucaption: visualising therapeutic touch, Nicola Lidstone

015


Yixuan Lu

I was interested in making my own tools to create work,

especially in decoration. After exploring a range of techniques

for producing texture, I made little, bespoke tools for

impressing repeat pattern on porcelain slabs. Each hollow made

by impressing same as the footprints on the ground. ‘Walking

on porcelain’ is my feeling of impressing on the porcelain slabs.

The texture and form of my work inspired by flowers.

@yixuan0v0

yixuan.lu17@bathspa.ac.uk

CERAMICS

016


017



Dr Ben Parry, Course Leader

CURATORIAL

PRACTICE

MA Curatorial Practice combines theory, history and

discussion of current practice with live projects in public

spaces. This year’s graduating students have explored a

wide range of innovative and interdisciplinary curatorial

strategies. Individual projects have ranged from costume

exhibits within National Trust collection displays to group

shows at local galleries such as 44AD. Collaboration,

collective practices and engaging new audiences has played a

key part in experimentation with discursive models including

a series of public events across the city that have begun to

further explore arts relationship to nature, climate change,

ecology and ideas of empathy and connection. This has

involved running a fortnightly art salon in a local pub, a waste

project on the Mediawall at Newton Park and two weeks of

live events around ecology and the natural world at Walcott

Chapel.

Working with other fields beyond art has been

particularly rewarding, collaborations with MA Sound Arts,

Creative Writing, Fashion and Environmental Humanities

and others, has highlighted the relevance and value of

the curatorial to the widest forms of creative practice and

research. Curatorial activism has been a prominent feature

exploring issues of decolonisation, gender, ethics, exclusion

of audiences and identity-based curating. In addition, MACP

curated its first international conference Art in the Age of the

Anthropocene and Ecocide, which explored artistic, curatorial

and cultural responses to urgent environmental and ecological

crises.

019


Alison Jane Hoare

My ongoing research is an inquiry into the curation

of time-based media arts. Recent projects have taken the

form of live sound art performance production, an in-depth

monographic study of the film-maker Charlotte Prodger, and a

look into LUX, an international arts agency that supports and

promotes artists’ moving image practices based in London.

My study at Bath School of Art and Design was

supported by Bath Spa University Enterprise Showcase Fund

which enabled me to take part a residency in France looking at

video and installation art in 2018 and returning in October 2019

for five days of classes and workshops led by Laure Prouvost.

CURATORIAL PRACTICE

ajanefrench.com

@jane_french

hello@ajanefrench.com

alison.hoare17@bathspa.ac.uk

020


021


Rachel Jones

Investigating, challenging and humanizing structures

and systems through curatorial enactments.

CURATORIAL PRACTICE

@rachfjones

rachelfjonesart@gmail.com

022


023


Lucy Pidgeon

My background of history and heritage has influenced

my interests in examining audience participation on a much

deeper level. The role that the curator plays in creating an

experience through their own collection interpretation, and

focusing on how to engage audiences by breaking barriers.

CURATORIAL PRACTICE

lucy.pidgeon14@bathspa.ac.uk

024


025


Judith Rodgers

An interdisciplinary artist and curator whose practice

combines an enjoyment of working with others and bringing

together, bridging and exploring entanglements, materials and

ideas, aiming to engender new perspectives and possibilities.

CURATORIAL PRACTICE

judithrodgers.co.uk

judithrodgers@yahoo.co.uk

026


027


Shubhani Sharma

As a curator, I am particularly interested in

curatorial activism, in curating space that calls for

more audience engagement.

CURATORIAL PRACTICE

shubhani.sharma18@bathspa.ac.uk

028


029


Ellice Thomas-Bishop

Within this Masters I have applied my BA in Costume

Interpretation with Curation, creating an amalgamation of

fashion history, costume construction and the curatorial.

With this, the combination of intricate fashion construction

and historic costume enables the curation of fashion to be

explored and displayed with captivation and understanding.

This concept was realised through a live exhibition within

the National Trust. The history of fashion was explored

through portraits of the family. Five centuries of fashion were

presented with the use of costume interpretations, historic

images, photographs of their archived costume collection and

a video. Within the image is a 1750’s sack-back gown being

photographed for the exhibition.

CURATORIAL PRACTICE

ellice.bishop@outlook.com

030


031



Nick Thomas, Acting Course Leader

FASHION AND

TEXTILES

The MA Fashion and Textiles course at Bath Schools

of Art & Design aims to nurture ambitious and visionary

minds through encouraging the development and extension

of existing knowledge and understanding of textiles, the

embracing of new technologies and craft applications, deep

investigation into materials and process, and the challenging

of ideas and traditions in the pursuance and development of

a uniquely personal practice and identity.

Course graduates are increasingly visible in the sector,

exhibiting at major shows nationally and internationally,

selling designs, products or services to agents, buyers and

retail consumers, working within commercial industries, and

continuing to innovate and move with the times, successfully

making their ways in the world.

Typically, this year’s graduate portfolio presents a

disparate range of thinking and making. Hand and digital

interfaces in knit, weave, print, and embroidery, and the

diverse vocabularies of material, colour, and surface design

and manipulation, have been explored to deliver design,

product and concept outcomes for fashion garment and

accessory, and interiors and public space, each expressing a

unique and sophisticated personal vision.

We wish each individual every success with their

continuing journeys of self-discovery, creativity and

invention.

033


Katie Barrass

Upon completion of her Master Degree, Katie Barrass

will launch a textiles embellishment business, offering design

solutions and freelance services to fashion houses and high

street. Katie has a creative design studio who’s unique style

incorporates couture and commercial embellishment. All

designs begin with hand-rendered drawing and painting.

The aim is always to translate the beautiful artisan feel of

the drawing to the work. Highly skilled in embroidery, print

and laser cutting, together with mixed process. Suitable for

placements, trims and repeats. Multiple design inspirations

from magnificent florals to technical abstracts and geometrics.

The business is an additional element to an existing

business, Katie Barrass Design which specialises in garment

design. Katie consults and collaborates with multi-disciplined

industry partners and is responsible for the entire design

process from concept to delivery, developing inspirational

moodboards, sourcing fabrics, creating tech packs and trims

and liaising with factories.

In 2016 Katie undertook a Master’s degree in Fashion

and Textiles to develop her idea of this additional element to

enhance her existing design business. Whilst studying Katie

developed skills in print, embroidery and laser cutting.

FASHION AND TEXTILES

katiebarrasstextiles.co.uk

@katie_barrass_design

linkedin.com/in/katie-barrass1/

034


035


Millie Clake

Millie Clake is a textile and surface designer with

an affinity for bold motifs. Using screen print she creates

distinctive placement and repeat designs for furnishing fabrics.

Her large scale one off prints are characterised by her unique

hand, expressive use of colour, and a lively atmosphere.

The art of screen-printing is an exciting process due

to its unpredictability, making every print unique. Millie’s

use of screen-printing allows her to achieve a sensitivity and

show her personal hand and passion. Her comprehensive

understanding of the technicalities involved in various

techniques and creating printed textiles has allowed her to

creative efficacious collections. Using various finishes Millie

creates tactile and exciting surfaces, ideal for soft and hard

furnishings. By taking a playful approach to both imagery and

colour, her printed designs celebrate the joy to be found in

oversized pattern.

Millie takes inspiration from a wide range of sources;

she is heavily influenced by her experiences and interactions,

and often works from the history of art and her ever-changing

environment.

FASHION AND TEXTILES

millieclake.com

@millieclake.print

036


037


Anna David

With a background in Landscape Architecture,

Anna’s deep and grounding relationship with nature,

environmental design and place-making guides her creativity.

Throughout the MA Anna has explored practice led research

methodologies and craft skills to refine business opportunities

for her homeware and lifestyle brand; Modern Makers.

Modern Makers comprises a collection of limited

edition homeware products inspired by British landscapes.

Committed to an honest approach, mindful craftsmanship

and timeless design, Modern Makers acknowledges the

benefit landscape brings to well-being and the influence it can

have in the home.

The Masters Project is led by an experiential practice,

underpinned by contextual research and philosophical

theorists such as Paul Rodaway, Frédéric Gros and Yi

Fu Tuan. The theory of place, observational walking,

environmental art therapy and personal reflection inform the

experiential approach.

Previous collections comprise the exploration of

the Norfolk coastline and Forrabury Stitches; a medieval

landscape, near Boscastle, Cornwall. For the final project,

Anna has focused her attention to British Ancient Woodlands,

in particular Hembury Wood, Smallcombe Wood and the New

Forest for the realisation of a new homeware range.

Modern Makers endeavours to work collaboratively to

encourage a conscious and mindful way of living and create

products that will bring joy to the everyday.

FASHION AND TEXTILES

modernmakers.design

@modernmakers

038


039


Emma Fallon

Taking inspiration from clouds and atmospheric

landscape, the work draws upon initial primary research

through photography and drawing to inform developing

textile designs. Mark making, watercolour paintings and

detailed studies of subject matter are explored on paper

before progressing into digital designs. The work celebrates

the unification of old and new through the use of both

traditional craft techniques combined with digital processes.

The hand woven collection draws upon a victorian

technique called ‘shadow tissues’ which involves screen

printing the warp threads before weaving and is a process

which is lost in industry due to being labour intensive and

combining knowledge from both weave and print which are

ordinarily two different subjects that do not cross paths.

A collection of experimental printed warp samples were

created before the final collection of samples and scarves.

Some pieces were screen printed with further layers of

embellishment after weaving.

The jacquard woven collection was hand woven on

a TC2 loom at Fiona J Sperryn’s studio. The samples were

developed from drawings and paintings and then using

photoshop to pixelate the designs so that each pixel is

representative of one thread, the different areas of colour

then represent varieties of structures. The jacquard fabrics

were made into luxury homeware products and Emma

collaborated with furniture maker Jony Pryor and Ebony

Rose Upholstery to create a bespoke, hand crafted bench

and luxury cushions.

FASHION AND TEXTILES

kulutextiles.com

@kulutextiles

040


041


042


Dr Andrea Medjesi-Jones, Course Leader

FINE ART

MA Fine Art is a studio-based programme, with an

accent on contemporary art production and contexts.

The critical nature of the course allows students to immerse

themselves into research and to work on developing and

establishing their own independent visual language and

approach to practice.

We are very proud of our efforts to maintain this

independence, and to see the outcomes of our students’

thinking and working on the course. It is life changing in

some instances, in others life affirming and inspirational.

The standard of students’ outputs and the nature of their

enquires is a reflection on the world we live in.

As a Course Leader, this is my biggest pride – to

experience the variety and the relevance of works produced,

that is visually challenging and contributes towards broader

conversations and traditions of art production.

This year we are particularly proud of the community

and the peer-ship of our students, whose self-motivation,

knowledge and hard work has not only put up an excellent

graduate show, but helped establish life long friendships and

collaborations, which will bear great successes outside the

Bath Schools of Art and Design.

Our thanks and congratulations go to the 2018 MA

Fine Art graduates. We wish them the best of luck in their

future pursuits and art practices.

043


William Barker

AKARAT

Using imagery from diverse surroundings and painting

them, places them in the context of art history, a visible

means of deciphering the symbols and signs embedded in the

mythologies of mass culture today; painted representation

inhabits the space between symbol and icon. This is a

knowing return to representational painting as a means of

showing the multiple truths surrounding an unattainable

absolute truth. Acknowledging, both the static and dynamic

image as well as the passage of time. They become markers

of the ever changing mythology of the culture of their time.

Prophecies, received from the past, about what the spectator

is seeing in front of the canvas at the present moment.

FINE ART

044


045


Zo-I Chen

I’m from Taiwan and most of my works are exploring

the concept of identity. I often used my body as the medium

to perform and record action and experience which I found

relating to the self.

Rather than provide an answer of who I am or who you

are, the works set as the dialogue that constantly interact

between me and the viewers, to present and to talk through

the struggling in identification and the frustration of living:

not belonging but belonging.

zo-i.chen18@bathspa.ac.uk

FINE ART

046


047


Julie Dean

Julie Dean is not an artist. Perhaps I’m a story-teller,

probably an animator, maybe a print-maker. I either have

too many words, or not enough. I’m looking for answers.

Do you have any? I’m trying to find the meaning of life, but

I already know that I’ll never succeed. Occasionally I think I

catch glimpses. I’m fascinated by statistics and humankind.

Profound, prosaic, trivial. Humour is integral, but viewer

beware. I’m a mess, I’m sorted, I’m all over the place. I’m a

contradiction. Walkaway now. Stay. I am not an artist. I am.

juliedeanisnotanartist.com

@jsdean_art

FINE ART

048


049


Jonny Falkus

Jonny Falkus is a painter considering:

• Chaos in systems

• Forces in process

• Organic in artificial

• Complexity in structures

• Distribution in matter

• Difference in intensity

These themes encompass reflections on contemporary

culture, politics, science and technology. They manifest

through both the physical process of making and the resultant

works, which also operate as a cross section through the

history of painting.

jonnyfalkus.com

@jonnyfalkusart

FINE ART

050


051


Lucy Gunningham

In my work I am exploring experiences of space through

moving and negotiating around obstacles. I am interested

in embodiment and movement as a tool of understanding,

how navigating a space can bring an awareness of yourself

and the relationship to your surroundings through an

investigation of moving, thinking, and feeling. I want to invite

people into a space that creates a dialogue between self and

boundaries, the physical space is not important but rather the

psychological spaces we create and perceive.

lucygunningham.wixsite.com/portfolio

@lucyjanegunningham

FINE ART

052


053


Tomoe Higashi

I am a Japanese artist, interested in reflecting the

truths about life, death and the universe in my art.

The painting, Infinity Night, is based on the idea of

death and existence after death. Through painting, I have

found a way of communication my dream image in order

to understand reincarnation more deeply, prompted by the

death of a young friend of mine.

The multiple-coloured layers are based on my

experiences since I was child. They include the joy of life and

fear of death. The written sutras express the feeling of fear

and consolation in the face of death. The stencilled flowing

water pattern is a metaphor for the idea of infinite life. I use

gold to reflect the Japanese classic art of Nihonga which

often uses gold leaf to reach a sacred atmosphere.

A girl’s eyes are open and express that she knows

the truth now she is dead. On the other hand, her mouth is

closed so she is not able to say anything. I insist that humans

can know the truth about the universe at the moment of

death. However, they cannot tell that truth anymore, so

nobody knows it. Nietzsche said ‘There are no facts, only

interpretations’. She is being covered by moss, disassembling,

becoming part of nature. After becoming part of the universe,

her molecules can become something new, probably a human

again.

FINE ART

054


055


Samantha Horn (O’Neil)

Photography is the primary way I am able to create art,

my practice is concerned with ‘truth’ and the ways in which

ideas of collective identity can fragment through the process

of ‘story telling’. In terms of material I seek content concerned

with the ‘mythologies of belonging’, such representations are

to be found within the narratives of our ‘cultural mythologies’,

traditionally illuminated by Christendom and Folklore.

I am concerned with the ‘truths’ that the ‘alchemy’ of

photography and cinematography are able to confess through

their process. The making of photography is set within a

structure of disclosure and concealment, where appearance

and being do not naturally coincide. Costume and its ‘holding’

nature is an important part of my work as it remains gestural

in its transposition towards atmospheres of temporal belief

systems.

My current work Garland, considers ideas of ‘belonging

and boundary’ and in its use of traditional European costume

explores notions about identity as being geographic and bound

to a period in time. Any genesis of ‘belonging’ is born out of

the desire to ‘hold’ something, illustrative of that which could

be discarded. My use of analogue film, costume and a camera

obscura aims to examine ways in which we seek to collectively

‘hold’ ourselves and in doing so asks “What ‘magic’ does logic

disrupt?”.

As identified by historical philosopher Louis Mink

‘Stories are not lived, but told’.

samanthahorn@btinternet.com

FINE ART

056


Borderlands, Samantha Horn

057


Anna Kot

While focusing on the compositional aspects of abstract

painting, I wish to evoke a sense of the wider context of

communication; not only inviting the viewer to engage with

the visual syntax but also to be aware of the expressive and

personalised nuances that contribute to the overall effect

and impact of what is expressed and how it’s received.

Enjoying the richness of variation and ambiguity involved in

communication, I want to interact and not merely present.

Therefore, while exploring the formal elements of colour, line,

form and angle, I am conscious too of the different resonance

the quality of each mark can bring, or the varying tonal

contrast and clarity of stroke and type of border between

shapes.

A painting sits between the maker and the receiver

and while being the vehicle for me to express ideas for you,

the recipient to consider, I want to leave room to suggest the

possibilities of what might lie behind. I incorporate evidence

of the maker in my works and leave traces of past thoughts

and maybe errors of judgement. An idea of the interface

between me and what I present, between the emotion within

and the more measured bearing in the social world. An idea of

the Transitional Space where I negotiate what to present to the

world, and how, and what to keep hidden.

annakot.co.uk

anna@annakot.co.uk

FINE ART

058


059


Helen McCormick

Utilising manmade materials, I am investigating

space, light, line and interaction. I am a maker at heart,

yet also enjoy appropriating readymade materials, both

bought and recycled.

My intention is to encourage the viewer to engage

with my compositions and consider the potential beauty,

in the unconventional.

FINE ART

060


061


Vicky McKay

I’m an interdisciplinary artist and an unreliable

narrator. I’m interested in hauntings and work with what I

remember, what I can see and what I’m told.

I mediate stories with painting, drawing, writing, and

recording. I’m especially interested in syncope, breaks in

narrative, and what becomes brittle whilst we’re working.

vickymckay.com

@ vickymckay_

FINE ART

062


063


Kelly O’Brien

The backdrop for my research has been the precarious

aspects of contemporary existence, with a focus on my

experience as an American living in the UK during a

tumultuous era for both countries.

My practice explores themes of power/powerlessness,

precariousness, resilience, and hope. I am interested in how

these dynamics are expressed through materials that I choose

specifically for their fragility and propensity to fail. I pair

minimalist strategies with organic expressive materials to

explore human issues. Much of my work plays with dynamics

of balance, tension, and agency while suggesting danger,

protection, and trust.

Through trial and error, I amass seemingly delicate

materials until they acquire collective strength. Sorting out the

inevitable falling apart of these experiments teaches me about

their resilience. I negotiate a delicate, sometimes uneasy

agreement with the materials, testing their abilities to rise to

the task at hand.

kellyobrien.art

@kellyobrienart

FINE ART

064


065


Thomas Tomasska

Always with an eye on ideas relating to the world around

us and its ethereal connections to the environment I inhabit,

my work has recently seen a surge in development as I

embrace contemporary technological aspects of photography.

I am interested in capturing the collective elements and

essential qualities we have to a time within a place, and in the

discovery of new visual territory (in relation to the landscape)

derived from rapid recording processes, which eliminate

to a minimum the diluting properties of unspontaneous

intervention. This allows perhaps more than just a simple

visual connection with the subject matter.

Directly photographing the environment/landscape with

my phone, the phone becomes a fluid gatherer of information,

a hi-tech extension to my creative palette, here technology

becomes very much a part of the connection.

FINE ART

066


067


Kaitlin Trowbridge

Kaitlin is a British Hong Kong Artist. Kaitlin previously

completed an MFA in Creative Writing from Hong Kong

University. She also studied Mandarin at The Chinese

University of Hong Kong.

Kaitlin works in the medium of art installation featuring

film, immersive theatre, and virtual reality. Her work combines

the textual with the visual. She has created a world based on

a fictional city created in her earlier film work, named Isca,

which features elements of Chinese, Japanese and Roman

culture. Her work attempts to create a place that reflects a

‘Paradise Lost’ or utopian world.

trowbridgekaitlin@gmail.com

FINE ART

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Nicola Turner

In my art practice I am investigating mortality, vitality,

eroticism, mass and fusion. I am exploring the interconnection

of life and death, human and non-human, attraction and

repulsion. I combine found objects that hold traces of memory,

materials from organic ‘dead’ matter (e.g. horsehair) and the

shapes of human form. I am exploring the interconnection

of humans to objects and each other and the awareness of

death, as a way of affirming life forces, amidst confusion and

the unsettled. I have found resonance in the concept of the

abject, which I see as being about the capacity of the world

to disorient and connect to primal instinct. My research has

led me to experience an abattoir, a cadaver course and a

personal ritual burial. What interests me is the dissolution of

boundaries and looking at the in-betweeness of things. I draw

reference from the writings of Jane Bennett, Judith Butler,

Donna Harraway, Julia Kristeva and Slavoj Žižek and research

exploring how humans are ecosystems that exchange and

overlap with other ecosystems, not bounded by skin or death.

nicolaturner.art

@nicolaturner.art

FINE ART

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Esther Tyler-Ward

Working mainly through drawing, writing, performance

and video, my interdisciplinary art practice places practiceas-research

at its heart, though as an experienced secondary

school teacher, this stares uncomfortably in the face of

a knowledge-based, progress centred state education

curriculum.

My work explores how the body can mediate this

encounter, creating a space that is often between thinking,

drawing, digital and performance processes. I move between

ideas, responding to current environments and experiences,

but always creating art from a feminist perspective with a

critical awareness of our ‘post-internet’, hyper-productive,

‘self-betterment’ culture.

@etw_evenmoreart

FINE ART

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Shadrokh Vahabzadeh

Born and raised in Tehran, Iran, currently based in

Bristol, UK. Shadrokh is continually using her intuitive sensibility

towards materials, alongside her rich heritage to explore

complex topics such as homeland, dislocation and identity.

She constructs her work using characteristic materials,

which have sentimental value to her and combines with other

material until the new form takes over and takes on a life of its

own.

The materials she uses are predominantly Persian carpet,

Persian Klim, copper, soil from her country of birth Tehran, Iran

and soil from her current home Bristol. By using soil from her

two homes she believes she breaks the boundaries between

two places and depicts a unity with a boundless harmony.

@shadivezvaei

FINE ART

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Dr Andrew Southall, Course Leader

VISUAL

COMMUNICATION

The Masters in Visual Communication is a practical

course for graphic designers, photographers and illustrators,

working alongside one another and also in collaboration to

produce diverse visual design. Our students are bright, open

minded and enthusiastic individuals and they often have a

wide range of experience in more than one specialism.

MAVC students develop a visual, critical & professional

context for their practice through each of their projects,

selecting a final Masters Project that reflects the skills and

particular interests they have developed in their time with

us. The course encourages students to integrate aesthetics

with legibility, encouraging individuals to consider how their

work might be read in differing locations by a wide ranger of

audiences. Our students gain from each other by sharing views

and international experience, broadening the context on which

they base their practice and refining the detail within it.

This year’s students have developed very individual

approaches to their final projects, that clearly reflect their

varied interests, backgrounds and nationalities. In the final

show you will find projects that are innovative, elegant and

distinctive.

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Grazia Campanella

Grazia is a multidisciplinary graphic designer currently

based in Bristol. Her work is primarily focused on branding,

editorial projects and typography.

During her Masters course, Grazia explored the

relationship between type design and local culture, embracing

the concept of ‘Genius Loci’, intended as the conjunction of

nature, culture and people distinct to a particular place.

For her degree project Grazia has designed Genius

Loci, a sans serif incised font aimed to inform how typography

can speak through properties of shape and form, revealing a

sense of belonging to the homeland and reflecting a particular

atmosphere. The project includes the design of four specimen

books and three posters aimed at showing the font in distinct

size and settings.

VISUAL COMMUNICATION

behance.net/grajoy

grajoy13@gmail.com

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Chaohan Jin

My design practice focuses on bookmaking and posters

designs. I enjoy using elements of my Chinese culture.

VISUAL COMMUNICATION

chaohan.jin17@bathspa.ac.uk

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Andrew Jones

For as long as I can recall, I have felt an affinity to

outdoor environments and the natural world. As a child, I

spent hours playing on boats, venturing onto local lakes and

the seas around the coastline of Britain, experiencing first

hand the ever-changing forces of nature and their impacts on

the seascape.

More recently, I have ventured further afield, becoming

entranced by mountain landscapes, their beauty, grandeur

and power, the way humanity interacts with them and how

they evolve over time. In the mountains, I feel an emotional

connection to the landscape, and a sense of heath, wellbeing

and awareness. I am increasingly struck by our impacts on

these environments, and the complex balance of benefits and

problems associated with our interactions.

As a photographer I have an interest across all genres

of photography, although my personal experiences result in a

particular focus on the outdoors and mountains. My goal is to

capture the essence of these places and I try to create images

that transport the viewer there on both an intimate and grand

scale, bringing to life both their beauty and telling the stories

within the landscape in a reflective and thought provoking

way.

During my MA, I have become increasingly interested

in the use of video alongside photographs, and the way that

these can interact to help convey a narrative, exploring this

through a number of evolving projects. I plan to utilise these

interests and skills in developing my MA show project.

VISUAL COMMUNICATION

worrallphotography.co.uk

@worrall_photography

worrallphotography@icloud.com

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David Norfolk

I am David Norfolk ARPS, and I first became interested

in photography around 1978, when I joined a camera club

in Australia. I am interested in fine art and semi-abstract

photography – in (as Klee might put it) ‘making the invisible

visible’. I want to call attention to those aspects of the real

world that people have looked at but not really ‘seen’ - my

favourite comment on my photos is something like ‘I’ve

walked past here many times and I never saw that before’.

I originally worked in the colour darkroom and learned

how to ‘develop’ images well before I met Photoshop: I see a

RAW image as a digital negative, for further development to

highlight what was in front of my lens.

As well as conventional photography, I photograph with

macro equipment and microscopes. I also use a camera with

its sensor modified to see infra-red, as well as visible, light.

I am studying the MA Visual Communications at Bath

Spa University, in order to expand my photographic horizons.

VISUAL COMMUNICATION

photographyatdavidrhysenterprisesltd.zenfolio.com

flickr.com/people/dnorfolk/

youpic.com/photographer/DavidNorfolk

facebook.com/DavidNorfolkPhotography

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Simon Taylor

My current work explores our relationship with nature

and how it can positively impact on our mental wellbeing.

The modern world is full of distractions that can remove us

from being in the present, which also significantly affect our

health, both physically and mentally. It is easy for us all to

become enclosed in micro-worlds, narrowing our awareness

on the self. However, if we can find a place and space of

stillness and contemplation, we can then allow ourselves the

opportunity to find perspective. This can be a solitary act or

a shared experience with anyone who is in the same state of

being.

The aim of my current project is to create a body

of work, that evokes a valued awareness of the natural

world, as a place and environment, for personal and

connected being. The work will, at the same time remind us

of our responsibility to look after and respect the, natural

environment.

VISUAL COMMUNICATION

simontaylorvisualartist.co.uk

@simontaylorimages

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Po-Cheng Yan

I’m a creative who explores various mediums. From

visual design, video, to ambient musical compositions, my

work is based on addressing experiences from transglobal

issues of culture and self-identity.

I originally graduated from Applied English before

coming to Bath Spa University. MA Visual Communication has

given me a better chance to explore myself and my own life.

This reflects in my work regarding individuality and personal

development.

My new work is not only a journey through selfexploring,

the struggle between id, ego, and superego,

visualizing the process, but also a challenge for myself on my

various abilities.

VISUAL COMMUNICATION

bobyen.weebly.com

bobyenkh@gmail.com

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CREDITS


CERAMICS STUDENTS

Amy Daniels, Chen Li, Nicola Lidstone, Yixuan Lu

CURATORIAL PRACTICE STUDENTS

Thuy Bui, Alison Jane Hoare, Rachel Jones, Lucy Pidgeon,

Judith Rogers, Shubhani Sharma, Ellice Thomas-Bishop

FASHION AND TEXTILES STUDENTS

Katie Barrass, Millie Clake, Anna David, Emma Fallon, Alexia

James, Zena Martin

FINE ART STUDENTS

William Baker, Zo-I Chen, Julie Dean, Jonny Falkus, Lucy

Gunningham, Tomoe Higashi, Samantha Horn (O’Neil), Anna

Kot, Helen McCormick, Vicky McKay, Kelly O’Brien, Thomas

Tomasska, Kaitlin Trowbridge, Nicola Turner, Esther Tyler-

Ward, Shadrokh Vahabzadeh

VISUAL COMMUNICATION STUDENTS

Grazia Campanella, Chaohan Jin, Andrew Jones, David

Norfolk, Simon Taylor, Po-Cheng Yan

SHOW IDENTITY CONCEPT / CATALOGUE DESIGN

Grazia Campanella

Simon Taylor

EXHIBITION CATALOGUE

Sponsored by Herman Miller

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The new Bath Schools of Art and Design campus

Herman Miller

in Bath

Our goal is to make a contribution to the landscape of

aesthetic and human value.

LOCKSBROOK CAMPUS

The first Herman Miller factory in Bath was located across the

river from the Locksbrook Road site, in what is now Lidl. It

did not take long before the company outgrew the site and the

search for a new building and design began. Max De Pree (son

of Herman Miller founder D.J. De Pree) found the answer in

a kindred spirit, architect Nicholas Grimshaw, this led to the

Locksbrook building design that opened in 1976.

The building was called ‘WoodMill’ and mainly

focused on creating items from wood such as desktops and

specifically, Action Office panels, which was a revolutionary

product from its launch. Gradually the company grew and

new buildings were added in Chippenham. In 2015 a new

factory and offices were opened in Melksham, which was

also designed by Grimshaw. The latter brought all of Herman

Miller’s operations for Europe, Middle East and Africa under

one roof, leading to the eventual closure of the Locksbrook

and Chippenham sites.

Herman Miller’s design philosophy can be summed up

in their mission statement ‘Inspiring designs to help people

do great things’. This is something that is considered in all

Herman Miller product designs and developments. It is also at

the centre to all of their external design collaborations.

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The Herman Miller ethos is to be people-focused; this

was something that the De Pree family felt strongly about.

Nicholas Grimshaw was chosen as the Locksbrook architect

as he understood this principle and created an architectural

design space that was ‘human-centred’. This company concept

towards design continues to this day.

Whatever we do must be constructively involved with the

neighbourhood and civic community.

Sir Nicholas Grimshaw CBE, PRA, RIBA, AIA, thinking back

to the Bath Brief, decided to write a new chapter in the

architecture of a 109-year-old design company.

LOCKSBROOK CAMPUS

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LOCKSBROOK CAMPUS

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It is Herman Millers goal to create an environment that:

• Encourages an open community and fortuitous encounter.

• Welcomes all.

• Is kind to the user.

• Changes with grace.

• Is person-scaled.

• Is subservient to human activity.

• Forgives mistakes in planning.

• Enables this community (in the sense that an environment can) to

continually reach towards its potential.

• Is a contribution to the landscape as an aesthetic and human value.

• Meets the needs we can perceive.

• Is open to surprise.

• Is comfortable with conflict.

• Has flexibility, is non-precious and non-monumental.

In our planning we should know that:

• Our needs will change.

• The scale of the operation will change.

• Things about us will change.

• We will change.

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