Jaz Morrison

'ALPHABET PEOPLE' (2020). Digital Collage. A Black woman looking up from a murky abyss. England flags are where her eyes should be.
‘ALPHABET PEOPLE/N*GGAS WITH MBE’s’ (2020). Digital Collage.

“Though various things inspire my work, I always find myself going back to history and space. History because nothing happens in a vacuum, and so everything is informed by something else. And space because everything exists within it, as well as the precarious way physical space has been treated throughout history. It would be nice to say that I used identity as the prism through which these two themes intersect. And from it I wish to tell stories and add to existing discourse.”

when a person attempts to cross the sea, ‘it’s because you’re already dead.’

– Jaz Morrison (2020), Why ‘Atlantics’ is a beautiful reflection of Blackness, Black Ballad


Jaz Morrison is a writer and visual artist based in Birmingham, UK. She explores history and social space through photography and collage. By embracing subversive aesthetics, Jaz provides a basis for memory- and sense-making, which she describes as ‘storytelling’.


www.jazmor.com @jazmor_


MA Fine Art

Elizabeth Moreno

Elizabeth Moreno is and English/Spanish/Gibraltarian Artist currently living in Birmingham, Uk.

Moreno’s practice revolves around the idea that there is a connection between unnatural and natural forms. Moreno explores the manipulation and transformation of imagery through perspective, colour and scale. She is interested in the resemblance objects have to Landscape.



Moreno captures the manipulation using moving image. Videos showcase the show transitioning from abstract to reality within seconds.

Earlier works

A virtual viewing of previous BA works

Yue Han


My work is based on news and newspapers in daily life. Through reading and painting experiments, the carrier of social content has become an abstract form, forming a picture form that cannot be predicted before creation.

In my work, I have been thinking about how to express space in paper newspapers. I want to try different interspersed relationships between different fonts and pictures to form a different spatial relationship. In the untitled series of works, I tried to extract the elements from the works and present different visual spatial effects through video.

August 27, 2020





MA Fine Art

——Untitled Ball Series1

This work is composed of three groups of red, blue, and black spherical newspapers, and each group is composed of 16 spheres. What this work wants to express is how to better display the space in the plane picture. This work breaks the visual display of my previous works. The previous work was a work done on a flat display. This work has been transformed from the previous flat to three-dimensional. This transformation is based on a book with a very unique cover and typeset that I bought at the psychologist Freud’s museum. So I wanted to present my thoughts on plane space in three-dimensional, and finally presented Untitled Ball Series1.

Untitled Ball seri,2020 50x50cm

——Untitled Ball Series2

Untitled Ball Series2 is an installation work. The inspiration for this work comes from the ideas that appeared in the process of learning 3D modeling. The exhibition of this work is difficult to achieve in the gallery according to my existing conditions. The 3D presentation of this work allows me and the audience to experience my work more deeply. In fact, when the work is finished, I still have a small idea. The idea is that when the audience approaches the exhibition hall, they choose the newspaper they like according to their interests. Send me another piece of my method and philosophy to make the work, and the audience will have a deeper experience. Such audiences should not be full of doubts about the work. I hope this work will be realized in a gallery or art gallery.

Untitled Ball Series#2, 2020 , Installations works, 500x300x300cm space ,
Blue ballpoint pen,red ballpoint pen,spherical news paper

Exhibition space link : https://vr.justeasy.cn/view/dh159vk76v4471j6.html

——Untitled Series #3

Untitled Series #3, The inspiration for this work was mainly influenced by the conceptual artist Joseph Kosuth. In his work “One Chair and Three Chairs”, he copied a chair, an enlarged photo of the chair, and the explanatory text of the term “chair” in the dictionary, and displayed the three in a juxtaposed manner. This work made me think about the different exhibition formats and methods of a work. The newspaper work in my Untitled Series #3 is my favorite work . This is a breakthrough work in my exploration of lines and abstract geometric shapes in newspaper layout. I am not satisfied with every piece of work I have created, but sometimes I just like a part of the work. So when I wanted to cut out the satisfactory parts for collage, when my roommate was making a video work, my collage idea was further realized. Cut the material in the newspaper and reassemble it into a video for display. This work breaks through the static exhibition form of the plane. After this work, I am full of quadrants for my future works, and I will not live in the plane presentation.

Video link: Video link https://youtu.be/MyDafWUCjMo

——Untitled Series

The work “Untitled #2 \ 3” is the last work in my exhibition. This work is my breakthrough in exploring the space of newspaper pages last semester. Before starting this work, I didn’t think too much about the layout of the newspaper, I just chose to smear randomly. These two newspapers are almost all typeset newspapers, and the spatial visual effects of the final works are completely different. The visual sense of the picture is deeper.
Words, lines, geometric figures, and colors will play an indelible role in this limited newspaper layout.

《Untitled 2#3》2019,58×68 cm Blue rollerball、Newspaper

Exhibition Plan

Exhibition space link : https://vr.justeasy.cn/view/dh159vk76v4471j6.html

Zoe Aitken

Nightmares + Terrors.

Nightmare - 2020 - Glitter, Glue, Tin Foil, Wool, Acrylic paint, Spray Paint on 300gms Paper - 1M X 1.5M


Nightmare explores engrained societal behaviours of misogynistic

oppression over women, through the guise of witchcraft; using visual

communication as a format performing the physical implements required

to create, distribute and manifest spell work.


Terrors – 300gsm Paper- 2M X 1.5M - Mixed Media painting: Graphite, Gel Pen, Acrylic, Gouache, Acrylic Liquid, Glitter, Glue.

Terrors, as a piece explores engrained societal behaviours of misogynistic

oppression over women; through the guise of the witch. Using tarot cards to

inform visual communication within a format that interchanges language,

using visual distribution and manifestation as a variation of spell work.

I became intrigued by the disempowerment that women received through

association of the word “witch”; a word induced to shame, hurt and control

women. It caused to consider the power that language held, as well as the

concept of language distribution and its effect; such as, the Malleus

Maleficarum – “The Witch Hunter’s Guide” published in 1486. Which

directly lead to the massacring of thousands of people whom were accused

of witchcraft throughout Europe and America.

The format of the Witch is adapted and enhanced to become the focal point

of empowerment for women through embodying the notion of reclamation.

The female forms act as a sigils reversing the negative attachment once

associated. Their constructed forms mirror tower like objects as if

rebuilding a modern landscape, mimicking patriarchal styled phallic

rendering of buildings and landmarks.

Sigils are accompanied by incantations formed using subservient language,

taken from female targeted magazines. Through their placement they

highlight and mock societal constraints that women have endured both

historically and within modern day, raising poignant questions over our

engrained societal behaviours.

Jiajun He


Materials and dimensions, 2020

Hollow out and all the materials are suitable for polyester and plastic film to reflect the softness, including the fluffy material on the back of the chair, which can bring people a sense of tenderness.
By exploring the soft fabric of life, this idea is combined with the chair, and the whole fabric is used.
The material used for the deck chair is cotton fabric, and its special use position can provide people with better soft and comfortable effect.
The chair that does not rely on the supporting part is like an upside-down bed. The material is made of cotton and soft plastic, and the surface material of the chair is made by liquid evolution, which has a new definition of softness.
Each individual part is filled with cotton fabric, and the outer wrapping is made of soft leather to increase the retention and softness of the chair shape associated with the petals.
For the chair made of felt-wool material, it gives people a kind of very light and soft feeling visually. Half of its body is translucent state, which increases the tenderness of the whole chair.
Through a simple water cup to associate the chair shape, and for it to give different soft material such as wool fiber, from the vision to give a person a kind of gentle embodiment.
The combination of rope and a kind of soft foam is such a feeling, using a kind of visual binding to show people the most unique side, but also reflects the softness of the material.
The exhibition
The exhibition

I used 3D software to make soft materials, and then injected these materials to make the chairs look soft and comfortable, which is the main purpose of my project. In today’s society, many chairs are composite materials, actually use soft material to make very little chair, so that people cannot be used to provide a good way, customs software rendering that is the most important visual brings the softness and comfort, if these chairs in the future will be made into an object, you must first give a person a kind of shock feeling on the vision. I use of these materials in the polyester, cotton, cotton fabrics, plastic film, etc., all can be provided for the soft material


I am sure that the theme of chairs is because I have used some very uncomfortable chairs before. When I use them, I always feel that chairs will bring some uncomfortable feelings to my body, especially the hardness of chairs, which greatly reduces people’s softness and comfort, so softness and comfort are very important for chairs. So I did some research from this angle, and found that materials play a very important role in influencing the softness of chairs.


jiajun. He2@mail.bcu.ac.uk


Art and Design

Xuechun Yu


Xuechun is a 3D artist in exploring the relationship between real and virtual objects. She currently specializes in digital jewellery visuals and video. 

Her practice is informed by her early roots in crafts and visual design and her further evolution into digital design. She also creates experimental work for interdisciplinary practice.


Artist Website



MA Art and Design

Simulacra-Dynamism in virtual space, 2020, video, 1’30”

This video is divided into three parts: flowing colours, dancing jewellery, and a virtual shop called Simulacra. She developed the theme of Simulacra for her exhibition, which explores the central theme of dynamism in virtual space.

Emblem series
Dancing masks season one
Dancing masks season two

Tap to see more virtual products

Based on the exploration of materials and dynamics, she is fascinated by the combination of experiment and uncertainty, real and virtual, the 3D form of digital jewellery, which can simulate the real and transcend the real existence. When attached to the digital material, the unexpected effect of watercolour provides surprises for designer and audience. The exhibition also aims to provide the audience with an immersive experience.

Lilli Whitham


I am an artist and educational professional based in Birmingham. This past year, I have been involved with research exploring the role of public arts and developing ethical engagement strategies for arts organisations. My interest in socially engaged work stems from my working experiences and previous career path in arts education. I view the arts as a powerful political and social tool to express the emotions and struggles of shared human experience. It is important to break down cultural barriers and use the arts to open a channel of communication.





Arts and Project Management

How do arts organisations apply ethics in the public display of art, in order to reflect changes in cultural and social attitudes?

Report, 2020

Following from my research undertaken in Research in Practice and my interest in socially engaged work, I wanted to explore how ethical considerations are applied by organisations in the commissioning and supporting of artists’ work that is participative yet pushes boundaries. The findings from my Research in Practice resulted in the following areas of potential further research:

  1. To examine if ethics can be separated from aesthetics in participatory practice and the impact this has on arts organisations in terms of funding policies and commissioning new works.
  2. To explore the role of the artist in socially engaged practices – should artists be working for societal benefit as educators and facilitators or is the role of the artist to be antagonistic and divisive, to unsettle cultural and societal notions of economy and exchange?
  3. To examine how best is social change and justice realised – through education and representation or politicizing the public?

My current research is following on from this exploratory topic – Can ethics be separated from aesthetics? This question will inevitably have an impact on arts organisations’ decisions regarding curation and programming, funding policies and new commissioning available to artists.

Initially I was interested in how arts organisations considered ethics in commissioning transgressive work and the impact this has on artists producing transgressive work with participants. This proved to be difficult to gather primary research; the topic is sensitive, and participants were reluctant to engage with the research question. My research aims, on reflection, were too binary for this complex subject.

Following the interview with an NAE former creative producer, I became more focused on how arts organisations relate to audiences and the ethics of engagement in museum practices:

  • How does this affect curating decisions, programming and the public display of artwork?
  • How do arts organisations consider ethics when evaluating art for public display, in order to be accountable to their audiences/users?

This led to a re-development of my research aims and finalisation of the research title:

Most of this research has been informed by reading materials, desk research and critical analysis of case studies. More primary research could have been utilised, however, due to the Covid-19 pandemic many arts organisations were closed with their staff on furlough. I received several apologetic replies from organisations unable to contribute to my primary research at this present time. A detailed evaluation of the research methodology is available in the appendix of this report. I have used Harvard referencing. Numbered footnotes are included.

How do arts organisations apply ethics in the public display of art, in order to reflect changes in cultural and social attitudes?

This report examines ethical considerations in the public display of art by arts organisations and museums. First, I have evaluated ethical philosophies and their applications to art, outlining the distinctions between ethics and morality. I have critically examined the ethical responsibilities of arts organisations to audiences as they respond to moral attitudinal shifts and how this can influence decisions on curation and context within temporary exhibitions. Further to this, the ethical duties of arts organisations to be accountable to audience’s social and cultural needs have been considered and how this is reflected through an ethics of engagement, representation and authentic authorship. I have addressed how arts organisations can respond to changes in cultural, social and moral attitudes to re-contextualise problematic biographies and histories of collections using progressive educational strategies of ethics.

 My research has developed an exploration of how four recommendations of progressive educational ethics could be applied within the arts organisation/ museum to respond to social and cultural shifts and contextualise historical art collections on public display (adapted from (Hein, 2010) (Dewey, 1916):

  1. Arts organisations (and practices in the public realm) should question and represent dualisms in order to address social inequalities. 
  2. The goal of education should be further education. Art should provide the resources for repeated and continued inquiry and alternative methods of enquiry; Arts organisations should be spaces for open ended questioning and interpretation.  
  3. Arts organisations (and practices in the public realm) need to reflect, challenge and examine their practices continually in order to respond to the needs of their audiences. This practice should enable opportunities for meaning making and feeling. 
  4. Connect educational work and exhibition programming to life and contemporary struggles in culture and society. Exhibition programming (and art practices in the public realm) should centre life experiences and connect to situations outside the arts organisation that reflect complexities in live human experience. 

Factors such as exhibition programming and audience demographics can influence the social and cultural ethical considerations in the display of contemporary artworks. As custodians of collections, arts organisations need to exercise a certain level of objectivity that enables them to evaluate a work’s contribution to knowledge and education. However, ethical responsibility in their display necessitates consideration of human social interaction. As society’s moral attitudes shift, the contextualisation of collections also needs to be responsive. This research is extremely relevant to the contemporary issues faced by museums, who are increasingly being required to address Britain’s colonial past. I have outlined how these progressive educational ethics can be deployed as a working strategy for a current solution to contextualising Britain’s historical public statues. Currently arts organisations respond to social and cultural changes using reactive practices, how could these four educational ethical principles be used instead to develop strategies of pro-active responsible action and influences social change – to develop activism? Tate is currently conducting a programme of research, ‘Reshaping the Collectible: When Artworks Live in the Museum’ (Tate, 2018), to consider new models for the conservation and management of contemporary works of art. Research on the development of collective memory ecologies, I feel is particularly relevant to the cultivation of activism within arts organisations. Could the four principles of progressive educational ethics be implemented as a framework for the continuous re-interpretation of our collections that proactively challenges historical collective memory, therefore developing and influencing memory ecologies and engaging publics with activism? This topic could be explored further in a PhD proposal.

Yu Xi

Contemporary children’s comic books-the establishment of outlook of world, value, and life.


This work collects stories about people’s “appearance”-the troubles caused by it. Based on these real stories, the secondary editing of the stories through myths and fairy tales-these children’s comics are based on the myths and fairy tales of various countries Create a story as a culture background-create contemporary children’s comic book, through the interaction of adults telling stories for children, spread the theme of the work as “Be Yourself”, and establish that each person is a unique and beautiful educational purpose.


ins: yuxi.draws


MA Art and Design


“Somebody to Love”

“Childhood memories”

The above animation shows some stories collected through interaction with the audience. These stories show what happens to people because of their “appearance”. By analysing and reorganizing these real stories, I created this work- children’s comic book.

These stories combine the Chinese myth “Nuwa created mankind” with the Western legend “God gives human life”, and use three different types of fairy tales to convey the concept that “everyone is unique and beautiful”.

“Best Life?”


“Someone’s Love”

The audience can stay in the art gallery to watch these comic stories, or they can buy books for children to read.

Bethany Potts

Expanding Painting: Beyond 2D

A series of paintings made using oil paint and silicone, 2020

In Excess #1, 20x20cm, 2020

During my time on my MA course I began incorporating silicone into my work. I was drawn to this material for its thickness, malleability and transparency. The work produced this year is a continuation of exploring the physical matter of paint and silicone; aiming to both challenge and embrace painting. The shift from 2D to 3D allowed me to explore the sculptural potential of the materials.

Zoomed in photo of a large painting, showing a variety of gestures and shapes, using blue and green acrylic, oil paint and white silicone.
Close up detail of a larger painting, showcasing the variety of gestures, colour, sizes and shapes
2 heavily textured paintings on canvas, built up with highly pigmented layers of silicone and oil paint, the image focuses on the interesting edges I was able to create
Close up image of two of my squeegee paintings in the series; In Excess.
Painting created using oil paint and ceramic sealant for the bottom layer and translucent silicone for the top layer, creating a juxtaposition of opaque, matte, pastel colours, with a glossy, translucent vibrant layer.
Ceramic sealant and pigmented translucent silicone on canvas, 20x20cm, 2020
Image shows a close up of a wooden sculptural object I made and heavily layered with multi-coloured gestures of white and translucent silicone
Close up detail of a sculpture, 22x22x22cm, 2020


I am a visual artist predominantly working with paint, looking into paint as a three-dimensional material. As an abstract painter, my work has been focused on process and gesture, using materials to create heavily textured surfaces, using a variety of unconventional tools, such as piping bags and syringes.

You can see my body of work in relation to theoretical debates and my own consideration of the materiality of paint, which has led me to consider my works as an expansion of painting. The influence of art movements such as Abstract Expressionism and Excessivism has aided me to think about materiality, mark-making, shape and texture.

I work in a collaging process; I love this technique because the viewer can almost re-create the order and process in which the strokes were applied. When a skin forms, I can manipulate these movements before the material is dry which allows me to animate the gesture. With my interest in the close up of a painting, the emphasis on the individual brush mark is consistent, as well as my interests in the seduction of paint. This work reflects both what I love in paintings aesthetically and my perceptions of contemporary painting.



Instagram: https://www.instagram.com/bethanypottsart/


MA Fine Art

Part of exhibition plan

Maria Gabriela Nastasa

A story of healing through movement

Digital Resource, 2020

Download online publication here.

Online resources


I am an art therapy educator and art activist. I have a particular interest in trauma therapy education and am committed to educating others through body movement and body awareness. My goal is to create a safe and creative space whilst teaching body-mind awareness for understanding body trauma. I advocate for the importance of going back into the body and not staying into the mind, and to encourage others to develop the ability to understand body resistance.

My work reflects the effect that comes from not knowing what is wrong with the body, and when nobody can understand the symptoms experienced. In this, I draw on my own experiences as well as those of others.




Arts and Education Practice