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BA (Hons) Fine Art

BA (Hons) Fashion Media & Marketing

BA (Hons) Fashion Design (Jan 2025 Start)

BA (Hons) Illustration (Jan 2025 Start)

BA (Hons) Fashion Media & Marketing (Jan 2025 Start)

BA (Hons) Interior Design & Styling (Jan 2025 Start)

BA (Hons) Commercial Photography (Jan 2025 Start)

BA (Hons) Graphic Design (Jan 2025 Start)

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MA Museum Studies

Master of Fine Art (MFA)

MA Textile Design

MA Fine Art

MA Visual Communication

MA Craft & Material Practices

MA Illustration

MA Drawing

MA Painting

MA Photography

Lovers PCA 005

<title>Student Work | Arts University Plymouth</title>

Our campus is a truly collaborative cross-disciplinary environment, encouraging students to push the boundaries of creative practice. Get to know the work of the next generation of creative changemakers - our current students.

Student Work

Halla Hart BA Hons Textile Design 2022

'Mineral Markings' by Halla Hart, BA (Hons) Textile Design

Mineral Markings

Copy of Wall piece tufting

A Portal to The Promised by Faye Bentley, BA (Hons) Textile Design

A Portal to The Promised

52202027403 f8be5c1144 o

'Succulent Terraria' by Mirella Dry, BA (Hons) Textile Design

Succulent Terraria

Emily

Emily Aston

Sorcha adams creatures 2

Sorcha Adams

George hogben blade explorations png

George Hogben

Jamie clarke blacksmith alter angle 1

Jamie Clarke

Matthew vos maintenence fin

Matthew Vos

Nathan hardy jasper 9lignumrootforestfinaltesttest

Nathan Hardy

Jasmin Blair

9 Zoe O Callaghan phone mock up insta

Zoe O'Callaghan

8 Ethan Short

Ethan Short

7 Adam James

Adam James

6 Brogan Algar page

Brogan Algar

4 Simon Langer

Simon Langer

Emma Flintham 302 Portfolio 3

Emma Flintham

14 Jade Storey

Jade Storey

12 Harry Rchards 5

Harry Richards

Peter Blodau 2 Cairo

Postgraduate

Illustration

Peter Blodau

Zowie Wyatt MA Textile Design

Textiles

Zowie Wyatt

Natalia Lombardi

MARION SMYLIE2

Marion Smylie

OWEN REES3

Owen Rees

Courtney Vosper Fashion Animation

Fashion Animation

Brooke Lee fashion Animation

Flower Animation

Brianna Williams Fashion Photography jpg

Fashion portraiture

Amaryllis Knight Styling And Make Up Design

Styling and Make-up design

Amelia Ford Planing Final Major Project

Concept Board

Brittany Trainor Future Trends

Future Trends

Ella Light Art Direction Styling

Art direction and styling

Corey Hyne Fashion Film Gamification

Fashion Film Gamification

Emily James Fashion Film Concept Development

Fashion Film Concept Board

Ethen Penn Fashion Publishing

Fashion Publishing

Gina Mannell Liquid Landscapes

Liquid Landscapes

Mikey Neale Womenswear Styling

Womenswear Styling

Missy Radcliffe Fashion Film

Stills from Missy Radcliffe's fashion film

Balenciaga Fashion Film

Natalie Bell Fashion Image Manipulation

Photo Manipulation

Olivia Birkby Fashion Film Super 8mm

Stills from Olivia Birkby's fashion film.

Fashion Film on Super 8mm

Paris Fashion Week Street Style

Paris Fashion Week

Poppy Baker Fashion Photography

Editorial Photography

Victoria Hughes High End Retouching

High End Retouching

Victoria Hughes Fashion Photography

Fashion Photography

Samantha Brown

Sam Brown is a multi-disciplinary designer who works primarily with traditional materials and processes. Linking embedded technology with metallic thread, carbon ink and paper, Sam’s masters project questions and re-imagines our interactions and experiences with time and place, and proposes interactions untethered from technological devices.

Sam has a BA(Hons) in Typography and has recently completed an MA in Visual Communication.

While studying at Plymouth College of Art, Sam worked as a designer for the SUB publication. This is a new academic journal featuring submissions from staff and MA student researchers; the first edition was designed as a print publication. Sam also worked as an editor for the 2019 Making Futures journal. This is an online journal which features submissions from the international conference held at Plymouth College of Art in September 2019.

Sam works as a design and craft tutor in the adult education sector. She has a particular interest in how craft can enhance wellbeing and has been involved in several government funded projects exploring how craft can benefit mental health through making and social interaction.

Look, Touch, Listen, Feel. Wall, circa 1930

Kate Williams

Can a weaver be a craftsperson and an artist? I focussed on this long-standing art/craft split to address the frustrations I was feeling in my work. I discovered that I am a weaver who had seen being an artist rather like a job, not a way of life. When I realised that my whole being must be my work, everything fell in place. Being overly analytical, I am often irritated by the broad-brush approach taken to many issues in the media. I must investigate, find the details, review the figures. I then superimpose the facts with intuitive colourful dramatic images: I unconsciously abstract the data. My breakthrough was the realisation that I must weave these exciting images using the magical rya knots and a big palette of coloured wools.

Data x Weaving

Emily Kemp

Historically, scenes of domesticity depicting women and their making are well-documented. Kemp's work explores the wellbeing that manifests from this making. Present scenes of domesticity would be radically different; Kemp questions whether, in this millennia of digital hustle and bustle, where Generation X are isolated and mental health issues abound, we must create a space and place for women to gather and 'make' together, to restore equilibrium. From this involvement emerges new work, together with women's collaboration in the 'making'.
 
Alongside the scenes of making sits a fireside chair, upholstered in a designed and digitally-printed fabric created by Kemp. She hopes this comfortable item will help viewers question the common narrative entitled, 'who tells you who you are before you know yourself?' This mixed media narrative piece brings together various threads and themes that Kemp has been exploring throughout her MA journey. It includes her school reports from 5-16 years old, memories, song titles and favourite words.

This chair embodies the desire to just sit and be mindful, a favourite chair for making craft and a safe space. The handmade objects are Kemp's response to her research and the art of making to ensure her own physical, social and emotional wellbeing.

A Story in Every Stitch

Essi Peuhkuri

MA student and designer Essi Peuhkuri dedicated her research project to reshaping perceptions surrounding fashion consumption and branding. Encouraging reflective dialogue, Essi created an alternative fashion platform and online store titled ‘CAREFREE’, Essi is looking to turn the traditional experience of online shopping inside out.
By removing product imagery and replacing it with the items’ care labels, Essi is setting product care, quality and origin as the key focus of the selection process. By basing her ‘CAREFREE’ concept on care labels, Essi is fighting the 'image over consumption' of fast fashion by raising awareness of value and care.

Carefree

Becky Dodman

Tasseography Textiles Investigates how divination and tea leaf reading can be used as a generative participatory design method to produce textile designs.

Becky introduces a newly created set of tools that facilitates the development of a shared language between herself as the designer and her participants. The Process gives participants the space to embrace the lesser-known aspects of themselves, removing preconceptions of what they may like designed for them, to design with them, encouraging them to explore an infinite number of ideas through a set of stimuli. In so doing Becky focuses less on the illustrative, representational self, and more on the abstract part of ourselves.

Becky, explores how divination has been; and is used as a visualisation, narration and interpretation method to create a sense of ‘self’ and future self. Becky invites her participants to consider the idea of future, community, togetherness, spirit and future now. She manifests these tasseography interactions through bespoke textile artworks that celebrate individual’s pleasure colours and shapes. The aim, to create authentic, bespoke abstract textile art works.

Tasseography Textiles

Helen Skidmore

Helen Skidmore is an artist/printmaker who makes many drawings whilst out walking and on her return to her studio, translates these into printworks. Her drawings respond to the rugged rocks and layered cliffs, wild seas, clouds and wind, the palimpsest of liminal tidal reaches that she is inspired by. Through her printmaking she has found a way in, revealing a deeper narrative from emotional and spiritual enquiry. In printmaking a complex intaglio plate is where an element in a series of works remains constant. Through drypoint Helen draws out the constancy of the landscape from her drawings and plate tone is carefully worked in to suggest the changing narrative. Her latest work combines her walks along the North Coast of Cornwall with response to the current pandemic.

In ‘Receding Tide, Black Rock’ the cliffs have become a fallen figure, in a shroud and the receding tide to the loss of life. ‘On the Edge, Black Rock’ is a religious symbol of the journey between two worlds.

Receding Tide, Black Rock

Karen Squire

Squire’s current work concerns exploring, exposing and testing the tensions that arise when mythology and tourism have to co-exist with the very real issues of poverty and questionable political decision-making. Ostensibly she is on a quest to discover remnants of the lost land of Lyonesse within the contemporary Cornish landscape, and by creating and re-mediating the images she makes in the course of this peripatetic mission, she hopes to somehow unfold and unravel some of the complex socio-economic issues that entangle the region. 

Squire has chosen to use printmaking as a means to achieve this because of its grassroots, political connotations, and historic associations with populist dissemination of ideas. She draws upon influences found within reportage, illustration and conceptual art, as well as anthropology, history, ritual and myth to provide the theoretical framework for her outcomes.

Squire is also fascinated by the notion of the itinerant artist and the spaces that artists occupy as they create their work; during her quest for Lyonesse, Squire has played with the idea of this movement through the landscape as an artwork in and of itself, by walking, swimming, making and sleeping in the wild in an effort to truly connect with the essence of the land as well as the complex issues she has chosen to unpick.

Beating the Bounds

Vivienne Spencer

Viv Spencer is a visual artist working mainly with printmaking, painting and photography. She has recently completed an MA in Printmaking and the focus for her research evolved into an exploration of the possibilities of incorporating the digital into her print practice and researching the professional and personal reasons - the how and why - that lay behind her desire to make the digital aspects of the resulting work ‘personalised’. She was able to combine her three main interests - photography, printmaking, and the joy of colour - by incorporating small patterns and remnants of her photographs into the prints and recolouring these.

Covid Summer

Nicky Harwood

Nicky Harwood is a printmaker based in Cornwall. Her work is concerned with landscape, place and disposable culture. Working predominantly in cyayanotye, she uses rot, decay and repair as a means of subverting the traditional idea of printmaking. Completing her MA in Printmaking from Plymouth College of Art in 2020, Nicky exhibited with artist Vanessa Allen in Plymouth Art Weekeneder and they have plans to tour with the instillation in 2021. Both making work outside they plan to show the work within the landscape.

Nicky is passionate about accessible printmaking, favouring press free processes for her own practice, and enabling others the access to creativity activity. She was invited to travel to Impact 10, Santander in 2018 with Plymouth College of Art where she shared the takuhon process in a collaborative project for the college. Also in 2018, she founded The Creative Gym, with the aim of delivering an arts for wellbeing programme for her local community. The Creative Gym moved to new premises in 2020, and plans for the opening of a community art studio are afoot. She also runs creative sessions as part of the mental health team for Cornwall College.

Parachute

Sue Lewry 2

Lewry is a printmaker-artist whose interdisciplinary practice explores materiality - testing and experimenting, crossing digital and traditional thresholds to exploit the agile art form of printmaking in order to push boundaries.

Her methodology is located in both social engagement and a solo practice. With themes based around scale, movement, body and performance, her tacit, discursive approach becomes a mode of questioning and producing knowledge by adapting to risk and uncertainty. Scale and labour are an important part of Sue’s work. Her paper and textile-based processes also include woodwork and doll-making.

Her intuitive approach evokes personal thoughts and interpretations while also inviting the audience to engage, explore and find their own meaning in the work.

Reflect Effort (Labour)

Carri Angel

Fashions of Fate

Kathryn Jago

Domestic Disorder considers the chaos and congestion of clutter within the domestic setting and its impact on mental health. This is a personal journey, exploring my relationship with possessions through a series of solitary, improvised performances with treasured possessions. Each performance triggers a series of memories, thoughts and emotions, enabling me to further understand the complex relationship I have with my belongings. Photographic practice becomes personal therapy, documenting my journey from a state of disorder, where clutter and possessions overwhelm me to a more ordered state where I able to feel at peace in my surroundings.

Domestic Disorder

Chelsea Benwell

Chelsea Benwell is a photographer who is working closely with the concept of place. Throughout her MA, she has been rediscovering and understanding what place can mean to the individual through local exploration with her camera. The result of this work has been an emerging feminine relationship between artist and landscape that takes care to show appreciation for the land and situates itself to be perceived through the phenomenological aesthetic experience, relying on the audience’s emotional response. Tone, contrast and form are key elements to her photographs, evoking a range of interpretations toward the final results

Untitled

Annabelle Tim Hogben

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?

Hold me tight, I speak a different language

Lottie Bond

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.

Internal Structures

Merle Sild

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