cardiff school of art & design 2013 masters exhibition catalogue

Tracey Watkins

" I can ' t re me mbe r what I sa id . . .

but i t was b loody funny" In 1902, the Psychoanalyst Carl Jung reasoned that each experienced event would be ʻconsumedʼ autonomously by an individualʼs psyche, subsequently leaving an unconscious trace. Thus, any reminiscence later recalled by that individual, would always be involuntarily influenced by long forgotten information, ideas and events stored deep in their memory. What this suggests then, is that a person who repeats a memory may or may not have actually experienced the original incident directly or wholly, yet he or she will truly believe that they have done so. These are my memories.

Contact: [email protected]

Florence Walkey

10 ,000 Monopr ints I have explored the idea that art is a relationship between the artist and the viewer and that it may be incomplete without both parties. Consideration of the relationship of the viewer to art, and my relationship to the viewer through my art, now informs my own art practice. I develop my ideas and as the work progresses within a more contemporary technical idiom. My own experience is varied; I create my artwork in order to satisfy a personal need, to connect with feelings through gesture, to create through processes, while remaining conscious that the work will be seen. Consequently, I work with an awareness of the potential viewer, and I incorporate ideas about communication and presentation into my working processes. The viewer is not an afterthought and the work develops and evolves is with an element of understanding that I am attempting to communicate with others. I want my work to be encountered and to have a unique presence. Ultimately, I want my work to have meaning and relevance. The nature of meaning in contemporary art as regards the relationship of the viewer to art works would seem to me to encompass a variety of aspects. There are levels of meaning that can be accessed according to experience, inclination and sensitivity. The nature of meaning in contemporary art is both accessible and elusive. It is there to be discovered, or not, by the engaged viewer.

Contact: www.twitter.com/FlorenceWalkey [email protected]

Sahar Rezaei

M in imal ism in We b De sign ʻMinimalismʼ describes movements in various areas of art and design where the work is set out to expose the essence or identity of a subject through eliminating all non-essential forms, features or concepts (Strickland, 1993). Pragmatically, any design or style in which the simplest and fewest elements are used to create the maximum effect might be considered minimalist. But why is minimalism becoming an issue for web design now? It seems the minimalist approach can be the basis for modern web design because by adding only what is necessary we increase the accessibility for the users and give them what they want at the time they want. This means increased accessibility and usability and a better user experience, as in these days with the internet being available to many more people, the ʻwebʼ is no longer a new trend. Users have little time to spend exploring multiple web pages in order to get what they need: they want it as quickly as possible in the best way possible. Perhaps that is one of the reasons behind the huge upsurge in the use of minimalist designs for web sites. My aim is to improve the usability of websites through the application of a minimalist design approach whilst looking at the relationship between minimalist design and website usability. In particular, I aim to re-design a web site and analyse its effectiveness with regards to the improved experience of the end user and examine the effect of a minimalist web design on the web users by performing usability testing.


Fay Greenslade

One and Thre e Journe ys The main focus and interest of my work is the idea of journey, creating artworks that encompass duration, repetition, ritual and movement. My most recent work creates a process-based, durational archive of my life; mapping my commute to work and day to day journeys. My work has been created by recording where I have travelled to and from, duration and times of journeys, with the main focus on my morning commute. These are process driven pieces created by using a map and a drawing machine Like the commutes themselves, these daily recordings have become a ritual part of my day. In my practice, mapping journeys has become a way of working that is almost a meditative process.


Matt Leighfield

The End of Eve ryth ing Old This website is a further development of the skills and ideas I explored in my intermediate project, designing and building a new website for Cardiff School of Art & Design. I wanted to develop my understanding of the 'International Style' of graphic design, which emerged as an influence on my web design work. I also sought to explore current web technologies, particularly those that seek to move web design beyond the 'page' and 'desktop' metaphors. Finally, I was interested in the deployment of these skills to exploit the commercial potential of current web technologies as educational and marketing tools that could engage and encourage exploration through interaction.


Catrin Richards

Suspic ion bre e ds Conf ide nce “The state is only an instrument. Everything depends on who has control of that instrument, which can so easily be transformed into a weapon.” - Anthony Burgess, ʻ1985ʼ Modern culture is constructed heavily around digital media networks; ones that alter our behaviour, modes of perception and interactions as individuals and as wider communities. What does it mean to live in an environment that is controlled, directly and indirectly, by technologies and new media, where the ʻwatchedʼ are also the ʻwatchersʼ and the line of control blurs toward the creation on a new acceptability within the paradigm of social interactions. Internet activities and online behaviour are fast becoming sources of surveillance and a way of monitoring our own interactions, movements and social judgements. If we are participating in these methods of surveillance, does this mean that we are supporting it? We begin to question whether something is right, just because it is in common place usage, forming an ever growing fabric of our digital realities. By addressing the physicality and nature of a medium and the techniques that it employs, in relation to its uses and effects on its users, we are allowed to re-experience our own understandings of them and our position within it, resulting in a space for contemplation in a busy world, overly charged by an abundant supply of shared ideas, imagery and information.

Contact: www.catrinrichards.com [email protected]

Miye Cho

S tare in to De ath My painting aspects of life and death from the perspective of close personal loss, which means from my personal experience having lost people who were close to me I became interested in life and death. It led me to think about life and death, bringing me an alteration of my attitude about my life. The image of life and death combines Memento Mori of western ideology with Confucianism, such as screaming faces, dry leaves or shadows. Following the Confucianism Korean ideology, the images in my paintings make people evoke landscapes. In Confucianism, humans come from the yang and the yin of nature, where the soul is created by the yang of the sky and the body is created by the yin of the ground. Additionally to return to nature is death, thus the image of humanʼs life and death is expressed in the creation and extinction of nature in my paintings. Also organic human bodies are like nature, like the branches and blood vessels or trees and humanʼs cells, so the familiar motifs from nature are arrayed and destroyed, and make the uncanny space. I attempt to stare into the painting to read images through several layers, and that means to stare into oneʼs death itself. Within my painting is a deep and positive sense of being aware of the essential and important things within every moment of every day of life, rather than warning of mortal life.

Contact: www.sweetartcho.wix.com/myart [email protected]

Alienor Martineau

Man in / in to Landscape My Project displays the results of my discoveries and observations of Cardiff and its surrounding areas. I chose to explore the different ways in which man interacts with the landscape and vice versa. With particular emphasis upon the transcendental power of mans natural surroundings, I sought to confront age old questions about life, death and Identity. By studying the often ignored "world under our feet", I hoped to understand more about our own role in nature, our identity and the role that nature plays in moulding it. Here are some of the questions I had in mind whilst creating the work on display: • How does the landscape invoke such powerful emotions that are universal to all people

irrespective of place? • What is our landscape trying to tell us, and do we have the sufficient knowledge in order to

respond to itʼs signals? • What are the similarities between the layers of the earth and the layers of human perception,

which, like the top layer of earth may lead to light. • What can we learn from natures towers and what can we understand about our desire to

recreate them? • How have the shifts in tectonic plates over millions of years affected our mentality? • Are we more connected to the earth beneath our shoes than we would like to think? • How can simply holding a stone change your perception of your surroundings and maybe

even everything you know?

Contact: www.alienor-martineau.tumblr.com [email protected]

Katalin Horvath

Thre e S tor ie s My ceramic work refers to the human experience in an era of constant change. In Eastern and Central Europe a sense of shared future has disappeared. I claim the past as mine and ours and aim to re-claim and re-think the near past in the atmosphere of loss of belonging, loss of feeling and disintegration of identity. I also claim the folk pottery tradition of Hungary – long high jacked by changing political forces – as mine. Telling the story with pots and ceramics offers another space, like a poem or song we all know by heart. My aim is to set up a discourse outside the bloody arena of every day fights of opinions; a discourse in a place which has been created out of what is innocent in our past: or shared familiarity with poetry, song and pottery. The pots I use in this body of work are types of vessels I have been making over the last few decades at different settings. Some are based on my traditional training, others on drawings made in museum storage rooms and at village pottersʼ workshops over a period of time in the Carpathian Basin area of Europe. They reflect the key sensibility in my tradition. With this body of work I am telling three stories: the story of the community, of an individual and of the traditional Hungarian potʼs metamorphosis. Ceramic pots here are metaphors for the community and the individual. The text is part of the work.


Tom Martin

Wunde rkamme r Interaction, visual perception and the creation of object based art are the most important elements in my current practice. I am investigating how the participant uses physical and mental interaction to manipulate compositional elements in order to reform them into new arrangements. I have been researching several artists and groups to develop my ideas, most importantly Constructivism and Op Art, but also more recently; artists who work within the theories of Museology. This has become a key area for me as I have been looking at how we, as viewers, place importance on the object or artefact. Such artistʼs work as Marcel Duchampʼs Boitê-en-valise, Herbert Distelʼs Museum of Drawers and the Fluxus collective with their Fluxkits have all been very influential to the outcomes of my work. These artists show a fascination with the relationship that objects have with the viewer, whether they are contained, archived or interacted with and they place an emphasis on implied possibility. Two further areas of research have also had a strong effect on my approach; Colour Field and Hard-edged Abstraction. Artists like Jules Olitski, Kenneth Noland and Gene Davis have inspired the way I use colour, typically in flat and intense applications. It is a combination of all of these areas of research that has led me to create my own cabinet full of interactive, abstract artefacts. It represents a bringing together of interaction, abstraction and object based theories into a collection that can be manipulated by the viewer. The viewer becomes responsible for completing my work, thus it can be interpreted in many different ways.

Contact: www.thomasmartin.turnpiece.net [email protected]

James Gimlett-Taylor

Can Yuo Rae d T ihs? An inve st igat ion in to how pe ople wi th re ading d isab i l i t ie s pe rce ive te xt .

Throughout my adolescence I spent the majority of my time ʻdoodlingʼ or being kicked out of the classroom; this was not due to a lack of ability, but more an absence of interest in subjects that presented me with little creative inspiration. At university I met a young man branded with the same ʻyou are a naughty boyʼ label that I had once worn; only he had earned his not from a lack of creative interest, but due to illiteracy and an array of underlying conditions that made obvious the flaws in our current educational system. It was not until in his later years of education that he was diagnosed with dyslexia. This inspired me to investigate the conflict between aesthetics and function in design and how it affects people with dyslexia. Dyslexia is believed to affect 15% of the British population; this can range from visual perception difficulties (blurred, jumbled or moving text) to problems with executive functioning, memory and speed of processing. My project focuses on the cognitive and visual stress that dyslexic readers (particularly younger individuals) experience when reading text. From previous research I was already aware that entrepreneur Richard Branson utilized Sans Serif typefaces in order to simplify design when marketing his company; having realised that he (being dyslexic) found Serif typefaces too complex to decode. This led me to investigate the optimum typeface for readers with dyslexia and to draw on this in order to develop my own dyslexia friendly typeface. My concept typeface is a result of research with dyslexic and non-dyslexic individuals, to determine the more favoured aspects of a variety of well known typefaces; having developed a set of guidelines from analysis of the data, I have designed what I believe to be a more user friendly typeface for dyslexic readers.

Contact: www.jg-taylor.com [email protected]

Youngjin Cho

A s tudy on the phe nome nology conce pts toward brand-or ie nte d f lagship s tore de s ign

Occasionally, when architects design flagship store, they more concentrate on their own design principle and distinctive style rather than ʻBrand identity'. It ruins the purpose of flagship store. This research approaches the question of design method for brand-oriented flagship store design which focuses on expressing and delivering ʻBrand Identity'. This project, furthermore, concentrates foremost on the ontological, epistemological and methodological assumptions for flagship store design. This is for evaluating the phenomenology to use as not only a theoretical framework but also practical design method. The subsequent part of the study points at the relevance of phenomenology for brand oriented flagship store design. Firstly, the thesis discuss ontological, epistemological and methodological assumptions of phenomenology. These concepts are reexamined in terms of their implications as brand identity, user experience and design process for the flagship store design. Secondly, the research concludes with a case study, which is considered primarily as a strategy facilitating the practical application of the research findings. The selected case is the design practice of Peter Marino's flagship store design projects. From this research, the concepts of phenomenology provide a proper guide to design brand-oriented flagship store. The ontological notion (Lifeworld) can be used to analyze the brand essence which affect to generate the design code of flagship store. In addition, the epistemological notion (Lived and Life experience as a user experience) give the basic information for customers' experience in retail environment, and the methodology (descriptive and interpretative) teach us how express the integration of issues through spatial experience.


Debs Thurkettle

L ight ing a Candle . Church Cove . The L izard . Cornwal l

A series of abstract works informed about an event in time and place. The primary area of my interest is Contemporary Abstract Painting. The area of exploration has been environmental and ecological – looking at the passage of time and the overlay of ancient and contemporary. How is it possible to capture the symbolic in an accessible way? Certain forms have survived as vehicles for vital expression, the circle, spiral, and the line in the landscape. Symbols are inherently abstract and carry meaning without the need for lengthy analyses. These forms seem to have a fundamental connection with human identity. My aim is to look at elements within the natural world and the physical senses and to explore the limits and boundaries of perception: A question of reinterpretation and representation. The land, wind, rain, mist, wood, elements within the environment both real and translated are incorporated into the work. Circle and line are used to explore timeless symbology and motif – creating something that has always been there and restoring our connection to it. “The act of repossession of this type of communication helps us to understand how the ancient patterns apply to our own, to move towards an integration of the political and cultural, the personal and the natural and all permutations thereofʼ. - Lucy Lippard

Contact: www.abstractworksdebt.carbonmade.com [email protected]

Élodie Alexandre

Be twe e n a Place and a T ime My work investigates the relationship between drawing and making in ceramics, at a point of oscillation between the two and three dimensional. This exploration is envisaged as a translation process, comparable to the act of translating one language into another, where what is looked at is the grey area that separates and unifies, the territory of the ʻin betweenʼ, rather than the points of departure and arrival. The objects that arise from this journey can be seen as valid attempts, like multiple ways of translating. They allow lines to be reinvented and visual conversations to emerge. The images used are based on personal memories of everyday objects and the emotions attached to them. Creating space for discovery and meandering, they evoke something belonging to the subtle and the felt and map a territory that is mysterious yet familiar, personal yet universal.

Contact: www.elodiealexandre.com [email protected]

Jasmine Alexandra Brett

Drawing Through the S i lk My large scale collage work bases around the network of people and memories that psychologically fuse the objective world to the emotional. By drawing through memories placed on a silkscreen I devise a structure to represent a modern tapestry of a person, place or space in time.


Helen Doherty

Mapping a Postcolonia l Ide nt i ty I have a foot in two hemispheres - South Africa and Britain – through birth and education, and negotiating these terrains has provided a rich reservoir of culture, imagery and experiences. Mapping a postcolonial identity through clay is what drives my work, grappling with the landscapes which have formed and continue to inform, my identity. Placing at the centre of my work a form – the horse and rider - evocative of Victorian Britain and her colonial interests, I use it to question the colonial enterprise and highlight some of its current repercussions: hybrid identities, dislocation, transfigured cultures.


Anna Vladimirov

But te r f l ie s Butterflies are fascinating to me: their colour, their variety of pattern and their movement. When a butterfly is flying it seems so easy and fragile and does not make any noise. It is completely silent impressing us with its beauty. I explore the physical appearance of this wonderful animal. I separate the body, the colour and the structure. What does a butterfly need to be recognise as a butterfly? What are its characteristics? I have made several pieces of a butterfly, the body with clay, the pattern explored with photoshop, finding out more and more details about the physical appearance. I experiment with the scale and what would happen if the graphic is shown larger than it is in nature. Photoshop shows pictures in dots and if you zoom in more and more at a certain point you can recognise the picture, you see just the dots. Most of the pictures we see on a daily basis are a least a summary of dots but our eye is not able to see the single dot. How many dots are necessary to show a butterfly?


Huda Pearn

When we look at an object, do we first perceive it according to purpose, or are we first informed by the objectʼs appearance? Does the functionality or materiality of the object construct our understanding? Seriesʼ of works examine the factors informing our perception and questions the boundaries of defined concepts. What makes a box, a box? And when does it stop becoming a box? The material surface further blurs the boundaries as our interpretation is interrupted, and our understanding grapples with the familiar, in unfamiliar contexts, compelling us to redefine our concept of an object. The poppy as a sign universally signifies death and re-birth. Death is never an ending; itʼs merely a continuation of existence in another state. The box is overtaken by the poppy and the appearance dies, but the purpose remains intact.


Marie Brocklebank

This collection of work is a reflection of the journey that I take from the urban landscape of the city to the coastal landscape of the journeys end, Monknash Beach, Bridgend. Simple, linear and layered with multiples of intrigue from the city to the shoreline, endless tarmac of the road, rolling fields going by, open skies drawing you in, calling you to the shoreline with the cyclical, tumultuous waves. It is my solace away from the city. The use of different clays are mimicry of the surrounding landscape on my journey to my home from home; the black tarmac of the road, the red of the brick, the golden hue of the sand, the white of the waves and hazy skyline. Using the clay in its raw, plastic state, I use my hands to throw, mould, shape and scrape away at the surface. I draw with the clay, the textures are produced by the addition of organic matter and slips to the surface, the contact that my hands have with the clay are prominent, whether in the thrown or hand-built form. These forms are more than just representational objects; they carry a piece of the place within them, whether it is a part of the clay body or as an addition to the surface from the plant life scorched within the sealed vessel. With the clay seal broken, you can see what lies within, the blackening of the surface, a trace of the organic matter now reduced to ash.


Shelley Campbell

De mocrat is ing Ar t : Ae sthe t ics , po l i t ics and the just ice of d is t r ibut ion

Walter Benjamin examines the possibilities for artistic output through the practice of reproduction and distribution in his essay, ʻThe Work of Art in the Age of Mechanical Reproductionʼ (1936). His proposal is to debunk the conventional aesthetic notion of originality and authenticity. As a German-Jew in the horror of Fascism during pre-war Europe, Benjaminʼs thoughts about aesthetics are embedded within a personal context. For Benjamin, the freedom of artistic expression had been hi-jacked by ideological propaganda through film, newsreel, photography and posters. Under state control, these artistic disciplines had the power to ʻaestheticise politicsʼ. In other words, they could portray war as beautiful. Instead, by exposing originality and authenticity as a Trojan horse, Benjamin strongly recommends politicising aesthetics through the means of reproduction and distribution. Inspired by Benjaminʼs essay, I aim to put forward a case to democratise art by ascribing four principles to artistic production: affordability, accessibility, pleasure and function. To defend these values and following other 20th-century manifestos, I have shaped a number of ideas about artistic production into poster statements. From the Futurists, I have lifted certain details of graphic boldness. From the Dadaists, I have incorporated certain features such as the deployment of confusing layouts and an over-abundance of written information. The title for my manifesto is: ʻBODY Movement (Art for EveryBODY)ʼ. To accompany the poster art, I have created a version of ʻwallpaperʼ. To manifest my theoretical commitments, I have created multiples of papercuts as contemporary wall decoration. The design for the cuts is available, free and easy to use. By using a QR code, members of the public can access my website and download a free template. My project unites political activism about artistic production and distribution, and endorses that enthusiasm through the application of accessibility, affordability, pleasure and function to my practice.

Contact: www.shelleycampbell.weebly.com

[email protected]

Chloe Belle Davies

To Se e Is To Touch I am a textile artist with an interest in social issues and disabilities and I am inspired by the lives of the people surrounding me to create installations conveying the plight and problems faced by society as a whole. Having within the family unit, a person who is visually impaired, caused me to think how art could be made more accessible to the blind and how I could create a piece of work that was both informative and yet both tactile and visually aesthetic. My project is based around visual impairment and I seek to emulate sensory deprivation and in particular, visual deprivation. This requires the viewer/participant to rely upon touch to establish an image within their mind and my installation explores the connection between touch, sight and memory. I have used a wide variety of mediums within my work and have drawn upon my textile knowledge and expertise to create an installation that combines both traditional stitch techniques and modern technologies. It is very important to me to create textural interest within my work as this allows the viewer/participant to connect with the piece in a way that is normally not permitted within a gallery setting. Through my work I have realised that the use of modern technologies such as photography has allowed the sighted to have a permanent record of their memories whereas the visually impaired have to rely upon memory and subsequently are far more attuned to the details of every experience. I believe that my work addresses this concern.


Gemma Wilde

I examine remnants left behind by living interaction, that which marks the passing of time in form and mass and sensation; the transient and visceral nature of the living, and its mortality which is inextricably tethered to it. My work is profoundly influenced by the process of making; the space and action called upon to marry the medium of clay with the elements that illustrate the changing state in death. Gravity and space complete the correlation allowing the laden subject of the macabre to play out its subtleties. The consideration of death and its possibilities is limited to our existence, never having the ability to transcend the divide of the spectator. The process of my practice acts as the manifestation of the passing of time, resulting in poignant moments which distort and question the understanding of what is living and what is death.

Contact: www.fireworksclaystudios.org [email protected]

Adam Keay

Ge opat te rn As someone with a background in geoscience, I have a different perspective on landscape aesthetics and landscape art to many other artists. My work develops from the forms of various geological technical drawings; some depicting sedimentary rock microstructures, others large-scale structural features. The lines and geometric shapes of the technical drawings create pattern which in some instances produces a tension with the formal qualities of the images. A formalist approach is taken in developing much of my work whereby the aesthetic appreciation of forms in the images has become the important aspect rather than the original, scientific purpose for producing the initial technical drawings. Such processes as layering, eroding through acid etching on lithostones, and collage have all become important in developing work. These processes reflect physical and geological systems operating within the landscape: the deposition of strata, the carving of valleys by rivers and the combination of multiple forces; geological, socio-political and physiographic, to produce a dynamic, often literally patterned landscape as delineated by the lines on a map. I like to work in an environment of exploration and treat my studio as a laboratory.


Karzan Khudhur

Sp i r i tua l i ty 'Subl ime and Transce nde nta l ' There is a self in me, Within myself! - Yunus Emrent. There is something hidden in the every human beingʼs Heart given the name Sacred according to Gnosis ʻknowledge of spiritual mysteries = Erfanʼ and Islamic Sufism. There is Sacred terns in our heart everything created is connected into that Sacred, all cosmos moved because of this. I am interested in work with spirituality and the deepest knowledge behind it, the major enquiry in my work is how discover yourself ʻknown selfʼ and about perfection throughout spiritual and mystic knowledge. I have been chosen Rumiʼs theory ʻthe religionʼs of Loveʼ the religion of love for Mawlan Rumi is not the negation of this or that religion, but it is the higher level of spirituality. To illustrate what is a self? How can we know ourselves? In the journey of perfection man has to pass different stages and stations until reach a truth and fall in love with Absolute Realty. In one hand, for achieving Spirituality I have done some work of art to embodiment this unseen world ʻUnseen Ocean of Divineʼ as much as I could, by bringing large canvas and using different symbolic shapes, likewise circle and black and white colour to emphasis a mystic atmosphere and transcendental world, or displays painting on top each other, as a representation of being inside the beings. On the other, for me art transforms the material world into the spiritual world or the observable universe to the unseen universe. If we take a look with the eye of discernment and depth upon the contemporary art, we will find that every artist has their own style. However, if we look at contemporary painting more deeply, we can classify it into two main styles. In the first style, action and moving are more dominated through their work. We can see this in Jackson Pollock and Willem De Kooning's works. The second style is the calm and flat surfaces. The works of Mark Rothko and Barett Newman are the embodiment of this latter style. My artwork is an effort to integrate these two styles, starting the work with action and adding some multi layers to my work of art which is I believe getting close to my aim.


Irena Krizman

F i la r Ca igo (Thre ading the Fog) “Rhythm is the wind that intersects the sky of the soul, the wind being born on the sky........” - Andrej Beli My abstract paintings and prints explore the rhythmical unfolding of light and colour. They are visual and conceptual representations and therefore interpretations of experience and surroundings. The interplay of lightness and darkness, fading tonal shapes, free gestural line expression, the layering and multi-perspectival approach, brings out a multitude of rhythms. The work is a construct of fragments, each relating to other, supporting one another, while each preserving its own properties: its peculiarity, place and sensibility. The imagination triggers further exploration and opens up countless possibilities, as well as a multiplicity of interpretations, in an associative response processes. “Whenever we hear sounds we are changed we are no longer the same after having heard certain sounds and this is the more case when we hear organized sounds organized by another human being.” - K. Stockhausen


Louise Smith

Louise Smithʼs practice arises when seemingly illogical combinations of information are composed with certain clarity. New meanings and metaphors are formulated from these ambiguous ties, the aim of which is to enliven the boring, accepted and overlooked. Drawing, painting, collage, photography and sculpture are all used; sometimes as separate dialogues and sometimes in conjunction with each other as part of a process. Each work can be considered for its own little incidents and momentary realizations. Materials are often acquired for free from friends, as found objects or discarded booty. The randomness of these materials often allows the advantage to create from a fresh perspective.


Joanne Barlow

0 4 . 0 5 . 2 0 1 3 - 3 0 . 0 8 . 2 0 1 3

At present I am investigating how I might physically manifest my experiences of people, objects, environments and happenings that I encounter. The embodiment of these experiences is evidenced through my engagement with a variety of materials and processes, the residues and build-up of which form their own diaristic notes. A selected clay body, the retention of a particular line or contour, the incidental impressions retained in the skin of a form, all indicate a specific time and space. Outcomes that are generated are presented in a manner in which both the artist and viewers can engage with our circumstantial emotions, concepts and physical concerns.

Contact: www.joannebarlow.com [email protected]

Jeiyong Chun

T h e E n j o y a b l e C o n t e n t f o r t h e Z o o o f n e x t g e n e r a t i o n : D e s i g n o f i n t e r a c t i v e s t o r y c o n t e n t t h a t f o r m s i n t i m a c y w i t h z o o a n i m a l s

t h r o u g h a n t h r o p o m o r p h i z i n g

The importance of consistent development of content for public educational institution comes from not only to hold up their social responsibility by the changing stream of times, but also the content itself is the very thing providing values to their visitors in qualitative aspects of user satisfaction. Among the public educational institutions, zoos are trying to transform themselves from living museum into the total conservation center to cope with the environmental threats, and to promote public awareness of nature conservation. To realize the new goal, zoos must, and need to find new opportunities that can maximize the effectiveness of visitor experience and interaction. Learning about the value of species and needs for conservation is mostly available with the presence of enjoyable experience interacting with animals forming intimacy and empathy with them in an interesting manner. ʻInteractive story contentʼ introduces an opportunity to zoo visitors to participate and make a story of animals. The story is consisted with 8 steps. At every step, visitor can select story components. Story-making components provide materials for developing a story such as characters, events and backgrounds as well as conservational topics such as environment, biodiversity, ecology, sustainable development…etc. As visitorsʼ own choices and arrangements of given materials following by series of guides, story is getting developed simultaneously, with organically changing plots. In the process of developing story, visitors get immersed into the critical circumstances that the species is facing with. A closed story can be materialized in diverse ways.


Chelsea Cooney

My work is an investigation into colour, placement and grouping. I experiment with composition theories. One question I am asking is, at what point do a number of separates start to function as a group. Along with this I am also conducting a study into everyday forms and objects. These objects that we encounter on a daily basis and usually get quite attached to; although these objects are mass produced, we have a tendency to label them as ʻour ownʼ. Hand-building each object exaggerates the fact that these objects are individual; each one is unique; and can be very personal to us. Just as the placement or arrangement of these objects in the home is important, in this context, placement is also crucial. Each piece has its place and as a collective they perform.

Contact: www.chelseacooney.wordpress.com [email protected]

Jude Gill

“We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And to know the place for the first time” - T.S. Eliot. ʻFour Quartetsʼ I collect objects that in some way intrigue me. Piece by piece, the collection is brought into the studio and becomes part of the creative environment, inspiring and informing practice. The display is reminiscent of the Renaissance Wunderkammer or Cabinets of Curiosity with no distinction between scientific and aesthetic value. Porcelain slip has a wondrous capacity to record, to create a skin that gives form to unseen space. I work directly with selected objects, getting to know the intricacies of their form, intrigued by what my explorations will reveal. The method is authored but the outcome is serendipitous, allowing the kiln to take control. Low firing the work captures the transitional edge where clay and object meet. Closer inspection reveals the impact and ephemeral residue of this interaction creating a new landscape. What remains provokes more questions than it answers. Although each piece is unique, the delicate remains carry a universal meaning. Life experiences change us leaving lasting marks but the solid moment of experience is gone forever.


Gemma Dardis

The Cor inth ian Maid: Abse nce and Pre se nce and the Prote ct ion Aga inst Loss

“In the Plinian fable, the harnessing of the likeness through the outlined shadow was only made possible because model and artisan were two different people. The image/shadow was the likeness of the other and not of the self.” Stoichita, Short History of the Shadow. In Pliny the Elderʼs account of the Corinthian maid, the birth of painting and sculpture is described as the moment a potterʼs daughter traces the shadow, cast from a lamp, of her soon-to- be-departing lover on the wall. An attempt to retain a trace or memorial of a person in anticipation of their loss, this act of tracing the outline is cited as the first act of representation and so regarded as the birth of both drawing and painting. The origin of sculpture or the “plastic arts” as they are referred to by Pliny, occurs when the potter, “charmed” by the outline traced by his daughter, presses clay into this outline and so attempts to give material form back to what has gone . My work examines the relationship between ceramics and image making, in particular photography. This exploration is located in the context of the myth of the Corinthian maid. Through the combination of these mediums and their respective processes, the work is an attempt to create a strategy to deal with my own experience of loss.


Eman Altiwairqi

Is lamic Ar t in Conte mporary V is ion Eman Altiwairqi Islamic Art in Contemporary Vision. This project presents an attempt to reflect traditional Islamic art in a modern style that makes use of contemporary artistic values and techniques. The project aims to adopt and integrate traditional Islamic patterns in a contemporary interior context. In doing so, it combines Islamic patterns in a modern house style for the ceilings and walls, and transfers and simplifies the Islamic motifs from the framework of large buildings to the interiors of contemporary houses. This can be seen for example in dividers for modern living room styles, walls, ceiling arts, exterior art & furniture. The project integrates the colours and meanings that are commensurate with modern designs. This implies investigating other key works in different disciplines such as Islamic patterns and decoration, interior architecture, Islamic design, and contemporary housing. This interior design project aims to integrate the values of the beauty, simplicity and warm feelings using Islamic art decorations which are geometric, floral and calligraphic in a contemporary house design which will be transparent, light and simple. Personally, I consider this project as a significant step in my development, as it takes me from designing single pieces of Islamic art work to designing for an entire space involving 2D and 3D objects. Furthermore, Islamic art will be considered not just from the point of view of beauty, but from broader aspects including emotional feelings, shade and shadow, light, furniture and other. The concept of the design incorporates the traditional Islamic decorations and the motifs inspired by particles of Holy water (Zamzam) which has very unique, magnificent and special shapes. The idea is to improve the connection between the user and the natural environment by using aspects of Islamic art which come originally from nature and Islamic teachings. This integration brings the building and the user together in harmony with the natural environment without causing any harm to the environment. Finally, this is enhanced by the use of natural sun light as a major element to create nice artistic piece of work.

Contact:

[email protected]

Jihae Park

Pe rsonal ize d se rv ice for audie nce me mbe rs to improve the i r muse um tour e xpe r ie nce

An author of the book “How to visit a museum” david finn mentioned that most matters occur to the audience themselves during the museum visit. And john and lynn who wrote the book ʻThe museum experienceʼ emphasized all audience members have their own inherent character in their personal context. The thesis of it is important to make the audienceʼs own appreciation method work in the museum is emphasized by typical experts. Actually the current service is not working through these opinions. From the research, most of the audience members who visit the museum are not satisfied with the service that is provided by the museum. It is hard to apply the service to the user immediately because each of user has different habits and tastes. In order to solve this problem, make idea materialized by using phenomenology method. The purpose of the research is to figure out the pain point through observation and to understand the audienceʼs needs and get the point thing which can be designed for personalized service through in depth interview. The physical context is influenced museum experience as what they behave, what they view and what kinds of things they remember. The five criteria (Tour route, admission hour, tour type, outline of work and method of getting information) are affected to this project. The aim of this project is to improve each of audienceʼs satisfaction of their tour experience in the museum through personalized service. A smart phone application is used for personalized service.

Maozhu Li

Env i ronme nta l Prote ct ion and In te r ior De s ign Through studying interior design I have gained a keen interest in environmental protection, something many other people are also concerned about. The extremes of our climate is mainly attributed to the emission of various pollutants as a result of human production. The worlds cities are major contributors of carbon dioxide emission. In the course of urban development, a lot of building pollution relates to interior design. Realizing this, sustainable development in the interior design field has become a focus of the whole industry. I hope to entertain a rational, well thought out model of interior design utilizing low-carbon methods and the reducing the energy consumption of interior environments. My design aim is to integrate a low-carbon concept and environmental protection into modern interior design. First, I will take into account the demountable property market and the recoverability of interior design materials. Second, is the concept of simplicity instead of extravagance, and minimizing waste, which will be incorporated into my designs. In accordance with interior design theory, low-carbon and environmental protection will be highly promoted in order to meet the aesthetic concepts of the interior design and achieve a simple yet modern effect. My third point is from a technical perspective, where waste shall be optimally processed to ensure the security, comfort and the health of the living space, and create a simple, environmentally friendly environment with low carbon emissions. Last but not least, I hope that both human society and the ecological environment can enjoy harmonious development as the result of the influence of good interior design. By placing emphasis on the environment, resources, energy and technology, a reasonable design method will finally be materialized to create a win-win result between the needs of people the ecological environment. This is my aspiration, the realization of which necessitates continued exploration.


Kostas (Konstantinos Michael Vourlakos)

We lcome to ' the Me tamorphosis of Ubiqui tous Obje cts '

I have a fascination with everyday objects; these ubiquitous forms convey an interpretative visual language through preconceived notions towards entities. This particular curiosity in aesthetic geometry has led me to the remaking of found objects through a subversive process, which occurs when pressing clay into a mould. I am furthermore appreciative of the design seen in these sculptural shapes from that of a makerʼs perspective. This relationship to objects can be traced back to my nostalgic memories in various sentimental artifacts. I also try to bring about an inquisitive nature to the forefront as to why these forms have evolved in a certain way. It is this very defined idea as to what an object is that I aspire to challenge, this can be done through the use of contrast with the intention upon creating impressionistic objects in a surrealist context. A metamorphosis in the artworks becomes apparent after being attentively engaged in a responsive dialogue with each object, it is thereby my statement as an artist for these ceramic vessels to be perceived subjectively.


Jisun Park

A L i t t le Food, Big he ar t In Korea, there are several issues of food waste. The governmentʼs ban on dumping the liquid that leaches out of food waste into the sea, which went into effect on January 1, 2013. Also the more food waste people throw away, the more disposal fees they have to pay in line with new rules that went into effect June 2, 2013. In this situation, it will be a wise behavior to reduce food waste from the first. According to a public corporation, National Parks have reduced food waste by 29 percent by collaborating with a Foodbank. However, according to KNN news, individual donation has been decreasing rapidly. So, the researcher has tried to motivate people to donate food to the Foodbank since; it is possible to solve both an environmental and a social problem at once. The researcher found out that giving benefits for donors is the most important thing to motivate. First a campaign slogan is suggested to inform people that donating a little food is not an abashed behavior. Also, a manual for Foodbank employees and an application are suggested to improve the current service of Foodbank. Through the application, individual donors can designate beneficiaries and find out the nearest Foodbank or Foodmarket. Also, it is possible for them to check the process of food distribution that they donated. Besides donors will receive several pictures and messages from beneficiaries and a banner from Foodbank. These will be helpful to donate actively and make people to donate again.


Jihoon Jang

Improv ing in Mobi le Shopping UX Annually, The Korean mobile shopping market is growing dramatically. The penetration rate of Korean smartphone is at the global standard in which means the growth of mobile shopping market is on-going process. There are three main features of mobile shopping. Firstly, the real time. Secondly, the LBS. Last but not least, the provision of social service is another feature. Three mentioned features are known as the ʻKeywordʼ in mobile shopping industry. At the same time, there were several issues addressed by the mobile shopping market. The size of mobile phone screen is too small for shopping. Many users in mobile shopping services have difficulties in obtaining data about the shopping item and its information is highly limited. Another issue to be considered is the security. With the following evidences, I have set a target for my project. The goal was to understand users' difficulties and needs in their mobile shopping experiences and maximizing advantages of mobile, in order to enrich current shopping experience more easily and effectively. The project was partitioned into 4 different stages; Introduction, Investigation, Research, and Design. At the intro, a task was set to analyze the current mobile shopping market – identified current issues as well as the potential issues. The research was carried out with methods of ʻcase studyʼ and ʻethnographyʼ. Consequently, the mobile display outcome was designed purely based on the observed research.


Jaebin Lee

SNS for V isua l ly Impai re d Pe ople SNS has been used in all areas of daily life. As SNS is growing, disabled people used to apply it in their life. However, most of information from SNS has visual sources and it targets the general user. Thus, lots of them barely understand the information from SNS and this circumstance becomes obstacle to them. Especially, visually impaired people have more problem compared to other disabled people. However, most of research related to this problem has been focusing on Usability and Accessibility. In terms of way in this research, I tried to find other issues to fulfill their needs or wants about SNS rather than developing the aforementioned two general topics. I progressed the desk and ethnographic research to understand user, tech and current SNS service. Through desk research (User research, Tech research and Case studies), I could find the function of ordinary SNS (Expert Search, Communication, Connection, Content Sharing and Identity) and through ethnographic research, I understood their usage pattern of SNS and found their needs and wants. Most of visually impaired users want to keep their private information from other users but after joining into the social service, they want to spread their message to others. So I found two keywords from this characteristic, which are Privacy and Community. Based on 5 ordinary and 2 new keywords, I developed the service concept named Avatar service, Private page service and Community suggestion. After I found those keywords, I adapted the concept UI to test the services.


Gowoon Jeong

(A) S tudy of Use r Expe r ie nce of Pe rsona l ise d Mobi le We b Se rv ice for Enhancing the Re -Use

of In format ion Expe r ie nce . We need to use web information more efficiently, because we live in the over flow information world due to multi-channel life. Although there are a lot of information around us, people don't use it well. Information becomes competitiveness, money and power for modern people. If we get left behind the trend or information, we are branded as an incompetent person and far from the success. This pressure causes the obsession with the information. The information obsession brings quantitative consumption than qualitative consumption about information. It is a symptoms of quantitative consumption that accumulating random information, even if it is not necessary right now. Therefore, this study argues for designing user experience of personalised mobile web service for enhancing the efficient information use. Based on the ʻDigital information life cycle modelʼ (Pennock, M. 2007), this study built ʻWeb information life cycle modelʼ using the research method, grounded theory. After the coding, a process of analysing an in-depth interview research in grounded theory, this study found that if a cycle of information use becomes shorter, the information would be used more frequently. Especially, to shorten the section between collecting and using is a crucial factor. Therefore, if a service supports to manage information as soon as it is collected, the rate of information re-use will be higher. According to this result, this study maintains UX flows for supporting the three concepts to reduce the section of web information life cycle model.

Contact: www.gowo-on.blogspot.com [email protected]

Dayoon Byun

Ne w Socia l Ne twork Se rv ice for S ingle s ' Food Cul ture

This project aims to make the lifestyles of the singlesʼ healthier. Nowadays, health is not something simply achieved by eating healthy foods anymore. World Health Organization said to be healthy if their mental health is strong, where loneliness, desolation, and depression are key factors. This project strives to improve the eating habits, which are the biggest problem for health among people living alone, to also improve their mental and social health. The goal is to establish a new social networking service to improve eating habits and also provide social and emotional support. Through interviewing various singles based on phenomenological method, their eating habits were observed. The singlesʼ eating habits were largely divided into 3 categories. Depending on each of the characteristics there were different value and needs. Through the 3 characteristics, Gourmet type/ Easygoing type/ Well-being type, their eating habits were analyzed. Through the analysis of the three different eating habit types, common pain points and individual pain points were found. The common pain point was a situation where they needed interaction with another person. For example, when they need someone or when it is hard to deal with on their own. This project aims to improve the singlesʼ eating habits through adding social activity to the singlesʼ eating habits.


Yujin Lee

Joyfu l Commute T ime Inglehart had mentioned about one of his theory "Silent Revolution". The "silent Revolution" describes that a transformation in value priorities that follows Maslows's theory of the need-hierarchy of human motivation. Actually, today, the people's interest in quality of life is increasing. Also commuting time- a one of quality of life indicators- is treated as a sensitive issue. Especially, Korea has the second longest commute time among OECD countries and a number of long distance commuters in Korea have been increased more and more over the past ten years, so the government of Korea is concentrating effort to reduce commuting time. But I realized that the most of those efforts are focusing to improve traffic or transport system. It means commuter is treated as only demographic factor that influences the surroundings in governmentʼs plan. The aim of this research is to find an answer for a question that "how can I decrease the psychological time during commuting", not finding a solution that decreases physical commute time. This research is based on the belief that the answer can be found from the commuter's behavior or their thinking about commuting.


Yoonyee Pahk

A syste mat ic approach for managing k i tche n-re la te d in format ion among fami ly me mbe rs

Throughout the years, a kitchen has been considered as a space of woman in Korea. However, a kitchen is needed to be open for the family members following the current social change. I focused on the way of raising the quality of kitchen life for family members by improving the absence of kitchen-related information because every thing in the kitchen is organized and managed by housewife. Throughout the study, I tried to comprehend the structure of relation between kitchen-related information and the family members using the methodology, Grounded theory. By working with the keywords that I drew out from the in-depth interviews, I found out the pattern of information in the kitchen and the vicious cycle by the information absence. I also found out which information was absent and what the obstacle of it was. Sharing the information is meaningful in that information absence is the core reason causing difficulty both housewife and family members. However it was the biggest challenge to manage that information systemically because the kitchen goods donʼt have digital data. Based on the technologies like an object digitalization and IT furniture that have been developing continuously, I suggested the information providing system for the future kitchen using the insights from my research. For showing the system more visually, I formulated several situations showing different information usage in the userʼs cooking experience in the future kitchen as a scenario.


Hyesun Jung

Proposa l for Succe ssfu l Busine ss Mode l o f Upcycl ing Brand for Large Ente rpr ise s

The primary aim of this paper is to propose successful business model of upcycling brand in fashion industry of South Korea. With the fast consumption of clothing in fast fashion area, there are massive amount of clothing wastes that cause environmentally and socially harmful effects. At the same time, the fashion companiesʼ ethical responsibility, for environments and social, has been increased significantly which is called CSR (Corporate Social Responsibility). Thus, there are some ethical and sustainable approaches, such as recycling or upcycling , are proposed by some fashion practitioners and organizations. Among them, upcycling is a "buzz word" in the ethical fashion area. Upcycling is with design value rather than recycling and upcycled products can be cycled from one new beginning to another or from cradle to cradle. So I took the upcycling fashion as a main thesis for this project and analysis of principles for upcycling fashion is studied in the perspective of business strategy. First of all, due to the fact that every upcycle specialised fashion brands have different types of activity and process for operating their company, the fundamental theory and the core process of upcycle specialized fashion brand should be found through in-depth interview with experts in upcycle fashion area based on grounded theory. Then the core competencies and important factors for the brand to be successful are investigated which are analyzed with the value chain adapted by Michael Porter (1985). Every investigated information and analysis results are shown with the business model canvas model.


BoKyung An

Improv ing the e xpe r ie nce of hand hygie ne se rv ice in hospi ta l

Healthy living has always been a key issues in our lives, people are aware of the problems that cause such illnesses and spread of infections, but it is difficult to change their action of behavior towards prevention of these infections. Diseases and viruses spread rapidly, from airborne, waterborne and through surfaces; especially through our own hands. Healthcare associated infections such as MRSA known as super viruses are transmitted through our hands, these viruses are resistant to antibiotics, which lead to serious illnesses and even to death. Hand hygiene issue has been addressed since early 19th century, Austrian physician Ignaz Philipp Semmelvweis proved that washing hands with chlorinated lime could reduce the spread of infections to the healthcare workers but it was difficult to change their perception and behavior of washing hands. Through out the century to solve these hand hygiene issues number of campaigns and guidelines were educated to people, although part of improvement has been shown poor hygiene habits remains. In this user experience research, understanding of the user behavior and their needs towards hand hygiene issue in the hospital is essential for this study. Main aim for this research is to minimize the spread of bacteria in the general hospital through improvement of hand hygiene service to the users. Also identifying current services, and campaigns are evaluated through user-centered design to provide the improved hand hygiene design guidelines in the understanding of the users.


Ahlim Son

Nut r i -Doc / Pre ve nt ive Se l f -Managing Die t Se rv ice for Chronic D ise ase Pat ie nts .

Eating habits of fast-food, lack of exercise of busy social activities of modern people, and decline of body function due to aging phenomenon are increasing the patients with chronic diseases such as hypertension, diabetes, and hyperlipidemia. Due to increase of patients with chronic diseases, the worldʼs medical system is turning into prevention services. This research is conducted in order to help manage and improve eating habits of chronic disease patients and offer personalized services that will contribute to managing effective medical treatment of doctors. When established, it will provide chronic disease patients with effective methods of self-care, and prevent complications in the long run, letting them maintain a healthy lifestyle with less medical costs. Such service program models shared among primary care facilities on the government level will ensure use among a broad range of medical institutions, including those of specialties other than chronic diseases.


Youngeun Chae

A phe nome nologica l re se arch for co lor re comme ndat ion se rv ice for on l ine appare l

shopping Nowadays, the use of online apparel shopping has increased. It is quite useful way not only to buy a product but also to obtain information for customer. Besides, the customer trend is changing that they want to express themselves using clothes. Especially, a colour of apparel is an efficient way to express own characteristics. However, there are not many services within online shopping to help choosing the right colour based on consumerʼs body characteristics. There is a colour analysis service to suggest a personal colour palette. Through the steps of theoretical consideration and the determining process of current service, some problems of the service were founded. Besides, on the questionnaire survey, customer tendency could be understood. Although most of the consumer felt that colour effects on their image greatly, they did not tend to consider of importance of choosing clothes colour. On the process of the in-depth interview, it is analyzed that the consumerʼs needs and the implied under meaning. The customers have ignored the difficulties “Afraid of failure social image”, “Uncertainty of virtual space”, and “Avoid the risk”. To help the improved service and the customerʼs needs, some similar factors from these steps were gathered that “Inaccurate result”, “Uncertainty”, “Subjective feedback” and “Unawareness”. To enhance the quality and usability of the service against weak points above shown, some factors are required to apply that “Accurate testing result”, “Visualizing”, “Interaction with experts” and “Useful colour information”. If these factors are applied to the service, it will be improved to suggest appropriate colour.


Helen Joy

Touching Image s (o f mind) I make art to satisfy an innate desire to draw and paint the things around me. This habit has developed over the years into wanting to see and make visible the things that other people see in their heads. I ask people to visualise – or find some mental image for – notions that are in some way difficult to specify. The ideas may be abstract, profound, suggestive, evocative, emotionally charged, symbolically laden; or just vague and ill-defined. I am particularly interested in the ethereal and the spiritual – what we see in our mindsʼ eye -and how I interpret those images and translate them into artwork. Cues or sensory promptings, which may be tangential to the actual question in hand, encourage participants to form mental images and it is interesting to see what effect different prompts have on our visual imaginings. My approach draws upon philosophical sources and current developments in cognitive psychology; balanced with theological writings and the history of religious art. Here, I am examining the effect of asking, ʻWhat does the colour blue look like?ʼ and responding creatively to the oral and written replies. These experimental pieces developed further when I extrapolated the question and asked participants to, ʻthink about the colour blue whilst shaping pieces of clayʼ. Blue evokes the intellectual, serenity and communication; it can suggest a lack of emotion and coldness. Royal blue also has iconic significance in religious art. Violet suggests the spiritual, authenticity, trust, decadence and suppression. Earlier work relates to blue and with the methodology tested, later work references violet in my pursuit of shaping thoughts of the spiritual. Running workshops with schools, family, friends, colleagues and strangers, I found that those with oral communication and limited attention spans were most able to appreciate the concept and enjoy producing objects. This has evolved into holding workshops with dementia sufferers and I am now concentrating on their carers. This is not about therapy but about responding to an identified need for carers to find creative outlets for their emotions through establishing a safe environment for them to explore thoughts, ideas and their own identity.

Contact: http://www.valerie-chicken.co.uk

[email protected]

Hayley Danaher

The main thematic that runs through my work is that of family relationships and the recollection and re-creation of remembered events enacted for the camera. The specific details of the memories are stripped away to reveal the emotional layers beneath and it is these that are interpreted as performance pieces often incorporating artifacts from past family members symbolising the relationships between them and me. Implicit in the process is an act of self-therapeutic catharsis where sometimes difficult memories and emotions are explored and expunged always with a careful balance between seriousness and humour. Digital photographic methods are used to document the performance while additional digital manipulation allows further layering of ideas that result in images that are sometimes surreal or distorted.

Contact: www.hayleydanaher.com [email protected]

Megan Rawlins-Read

Objectification of the Body

How do we see our own bodies? How do others see us? The work investigates the understanding of How I see my own reflection? This allowed me to question How I want to see my own reflection? Collages is a type of process that involves taking parts from of certain elements and placing them with other elements that usually do not co-inside. Using collage allows me to take away from the photograph as well as places elements together. Throughout the process I have gained a understanding of how is chose to see my body and there for the reflection of my body. To take this further and create a understanding in a formate that is exceptible to myself, I started making drawings. The reflection of myself became a object of observation. My work conveys a understating of how I depict myself, and questions the objectification of our own bodies.

Contact: www.meganrawlinsread.tumblr.com [email protected]

cardiff school of art & design 2013 masters exhibition catalogue

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