Jessica Skidmore

I create work that is both relevant for today’s world, while having the traditional element and making of something that could have existed centuries ago.I feel it is important to move forward in the world of art and creativity. But I also feel that there is so much left in the past that has not yet outlived its usefulness. I find a lot of fascination with different forms of religious art but I feel that pieces of this nature can be adapted into something more. I also feel traditional art methods are important to continue to learn and to educate ourselves with. You never know when traditionalism will be called upon in the place of modern and post modern art. I am often inspired by work of all Medias and methods that surround me in my home of England and in the Midlands. It is where I was born and raised and it is where I often source ideas and messages that I wish to show and say through various forms of work. I am primarily a drawer but my life as a student has encouraged me to try other methods I would not have previously done which has opened other doors for myself and my work.I am interested in how I can further establish myself as an artist and what other fields I can branch out into in the future.


My work has consisted of many different elements and different scales. From Wooden Archways of authentic and contemporary grandeur, to smaller handheld pieces of different shapes and materials. From perspex to glass paint, from insulation tape to acetate, I have taken reference from both modern and traditional stained glass artists whilst on my project journey.

James Baldwin


Cherry, Pine, Brass and modified Sanyo cassette recorders, 2020


The most limiting factor of how we interact with and integrate AI within our extended community is the language we use and it’s extended reflection upon society at large.

mellosette is a tool in which humans can converse musically with AI and allows a user to interface with and actually ‘talk’ to a computer in a call and response manner. It has been constructed in such a way that human language is not a necessary tool for understanding a connected AI’s response. 

Constructed in two parts and finished in pine and cherry, firstly as a recognisable chromatic piano keyboard using a mixture of found materials and computer parts, secondly a MIDI controllable cassette tape array, able to be used as 24 individual replaceable sampled tracks which are tuneable over a range of musical scales as to not limit the user tonally.

Taking cues from both the portable record players of the 60s and the home and office computers of the early 80s, the mellosette has been carefully designed as a piece of functional furniture intended for use in a living or comfort room producing audible analogue warmth helping to create a normalising of cultivation or nurturing behaviours whilst using AI. 


Less of an artist and more of a maker, Baldwin’s work is used as a visual extension of his own comprehension of larger situations and ideas. Whilst often diverse in theme and physicality an attempt is made to retain a certain level of visual cohesion within the body of work, keeping to a pallet of earthy tones highlighted with accents of bright primary colours.

Above all else his work attempts to engage an audience, with no prior knowledge necessary, but always in an inquisitive nature. Attempting to realise answers, big or small, together. 




Fine Art