MA Painting

The Surface as Threshold by Vanessa Allen, MA Painting

Beauty in Waste by Sasha May-Mclean, MA Painting

Animal Ethics by Paula Meninato, MA Painting

Paintings by Lee Jackson, MA Painting

Expuesto by Henrietta Paine, MA Painting

An afternoon in St Ives by Sam Westlake, MA Painting

Untitled (Battle of Cascina) by Daniel Phillips, MA Painting

Trans-form by Beverley Roach, MA Painting

Kakatopia by Rosie Cooper, MA Painting

Merle Sild is an Estonian born painter working with oil paint and cold wax painting medium mostly. Her images based on her experiences from the previous Soviet Union and travelling through very many different countries later are powerful amalgamations born of her digital splicing - uncanny and charged like the world itself, in which space and time are manipulated through the influence of a past event. Inspired by Dylan Trigg, Merle is searching for a broader context between memory and places re-visioning her own personal history. She is painting the stories of timeless rebirth and hopes of new life beginning in locations of disasters and destruction. Her main aim of creating is to tell the viewer about the responsibility which needs to be taken knowing that together with time, humans are the most powerful creators and destroyers

Bond has always been captivated by the passing scenes of the moment. Her work focuses on converting subtle forms, which emerge through automatic drawings, and further translating them through painterly processes. Bond’s work is about portraying an internal experience, generating her new fictitious landscape. This idea derived from the surrealists, who developed automatic drawing as a means of expressing the subconscious. Automatic drawings are a common motif within Bond's practice, deepening her relationship to Automatism and Tachism. Bond's recent work toys with the impossibility of life, creating graphs of drama. Her current focus is on manipulating her identity, connections and memory through gestural painting and abstraction. Bond responds to relevant practitioners, such as Julie Mehretu and her quest to unravel personal biographies. Bond's work also reinterprets concepts drawn from the legacy of action painting. Bond is currently researching Freudian and Jungian philosophies of the self, and how there is a complete breakdown of life in the absence of control. This research relates to Bond's experience of anarchy and opportunity. The cartographic element within Bond’s practice insinuates a subliminal written language. Her painterly language heightens the visual experience for the viewer, and embodies Bond’s subconscious. Her layers of paint represent the idea of being encapsulated.

CLOD by Cassandra Agazzi Brooks, MA Fine Art

While researching another painting through play methodology, which took the form of dressing up and trying different compositions, I took a series of photographs. Towards the end of the session I felt tired and lay down but continued taking photographs. When examining the images later one photograph seemed very potent, disarming, awkward, and vulnerable. I felt that it was too challenging to use and put it aside. However it’s poignancy suggested that it should be used. I did a drawing from the image which turned out differently from the image in the original photograph. Yet it remained poignant. After this I did the painting from the drawing with some direct observation. Hereby creating a different image again. A visceral emersion in the material of paint was required. The title comes out of the disparity between the internal need to be understood, and the difference in the appearance of the received external self. Yet here the two run close. It is the vulnerability that speaks. Can it transform the potential in the viewer?