Rebecca Smith

Un Model, Re Structure, Dis Institute

Investigative Publication, 2020

Looking at how publication can act as a means of spatial development and explore common spaces of learning. It acts as a space of alternative learning, though structuring, institutional behaviors, and visual communication.

The publication ‘Book as Toolkit’ explores different Educational components and how this can be developed into an alternative space. It displays this act of zooming into institutional components and its layers of processed visualization as well as acting as a resource for the development of the alternate. The application and expansion of structures, models, behaviors, and sequences is visualized through the speculative models of education, this intersection or cross over of modes is visualized and developed through CMYK colour experimentation.

Statement

Rebecca Smith is an artist – educator – producer – creator and …

I explore the multi – faceted ways in which roles within arts organisations can have many purposes. In tern this interest in multi – use roles and spaces has developed into looking at the institute itself alongside space manuals and examine how these too can be adaptive to change. Un Model, Re Structure, Dis Institute, Alt Environment is a body of research and making that analyses the Uncanny spaces and the inter – between through experimental publication.

Contact

rebeccasmithart29@gmail.com https://becky2998.wixsite.com/mysite

Degree

Arts and Education Practices

Kit Wright

Hi, I’m Kit Wright.

I’m an artist and educator with an enthusiasm for nature, art, storytelling, and living ecologically. Over the past two years, I have explored outdoor education, forest schooling, art-based environmental education, and indigenous eco philosophies. Viewing the human relation to nature in geosophical knowledge systems through the lens of creative activities has helped me explore my origin story, forge a connection to the natural world, and develop an ecological self. As a result, I created Chatter Projects art and nature workshops from which Cards For Ecology educational resources developed. Chatter Projects workshops and Cards For Ecology resources combine storytelling, art and play to encourage engagement with and reflection of the natural world, our relationship with nature, and our place within the delicate ecosystem which sustains us. 

Chatter Projects workshops allow the voices of the landscape and people to shape the creative process. Whilst prompting conversations about the relationship between art and nature; creativity and the various environments that we inhabit. 

Cards For Ecology are art and nature activity cards developed with original nature stories and retellings of ancient narratives to help children explore their relationship with the natural world. The foundational idea of the cards is that through the development of an empathetic relationship with nature, ecocentrism can be cultivated. 

Chatter Projects are cognisant of worries surrounding the climate crisis by creating sensitive resources with age-appropriate language and content. Focusing on creating interest in and appreciation of nature to tackle cognitive dissonance towards climate change, nature deficit disorder, deficiency in climate awareness, and depleting nature engagement. By presenting opportunities that engage people with the natural environment, forging a connection to nature through curious exploration and creative activities. The resources cultivate ecocentric values by reorienting people’s relationship to the natural world.

Chatter Projects Website: www.chatterprojects.co.uk

Cards for Ecology are an educational tool kit to help children and adults reflect upon their current relationship to the natural world. The cards aim to generate opportunities to connect or reconnect with nature and actively involve participants to consider the climate.

I created Chatter Projects to make materials for parents, educators and children to start conversations about the environment. Our resources and workshops encourage creativity, discussion and imaginative engagement with the world around us.

Who are they for?

The card sets have been developed for teachers and parents to use with individuals, pairs, or groups of children. The cards work in a flexible way to suit your activity needs, in the sense that you could opt to just use workshop cards, or a mix of character cards and chatter cards. You could shuffle them all together or keep them within their specified categories. Each category has a purpose of its own and works separately or alongside another category.

How to use the cards

Each activity box kit has an accompanying information booklet which outlines the ways in which the cards can be used. Each card pack has a card which outlines the ways in which the cards can be used. Each card has a label on the left-hand corner which is visible when the deck is fanned out, the labels show what category the card falls into. The cards are developed to be intuitive and flexible in the sense that they can be shuffled up and picked at random, although there are suggested orders for workshop cards that can be found in the information booklets and followed if the user chooses to do so. 

Different card packs

  • 01 Shared Earth
  • 02 Insect Rescuer
  • 03 World Adventurer

01 Shared Earth

02 Insect Rescuer

03 World Adventurer

Check out my ChatterProjects.co.uk website to find out more – Kit Wright

www.chatterprojects.co.uk

James Baldwin

mellosette

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

mellosette

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. 

Statement

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. 

Contact

@james.a.baldwin

j1971986b@gmail.com

Degree

Fine Art

Hannah Jeacock

Lost and Found: Exploring the Role of Online Art Spaces and the Potential for an Online Art Venue for Found Photography

Lost+found, Research Paper, 2020

Six individuals pictured standing distanced from each other, 1940's Black and white photograph
“Social Distancing Before Social Distancing” (1940’s, Found Photography) – lostfoundphoto.com

With the ever-growing rise in the popularity of photography, there is a growingly large side-effect – the amassing of a vast body of images whose photographers, subjects, and purposes remain unknown. Many of these lost, unclaimed, or disposed of photographs are some could-be showpieces and uncountable amounts of everyday vernacular snapshots. Every day thousands of photographs are misplaced and discarded, they often end up losing their history and having their stories erased. These photographs can find their way into the hands of artists and collectors alike, who share a curiosity into the origins of the forgotten and found photographs.

Unearthing the original meaning and context of found photographs can sometimes be impossible with little to no information on its original narrative. It is the unknown of these photographs that creates a curiosity, that provokes memories, and a desire to create your own narratives from the visual clues held in the object of the photograph. For many, it is the endless unknown that surrounds found photography that intrigues them. It is the familiarity of the vernacular snapshots which invites the audience in, whilst still being elusive.

Figure with child sat on their shoulders, walking behind their dog towards the sea.
“Until the sky meets the sea” (Early 2000’s on 35mm, Found Photography)
– lostfoundphoto.com

It is my curiosity for found photography which has driven my research project forward – exploring the role online art spaces play in the creation and dissemination of art, and what this means for the audience, the artist, and the art institutions. Whilst also influencing the creation of an online venue for found photography – Lost and Found.

Lost and Found has been created to act as a digital archive for found photographs. A place to celebrate and question the curiosities which surround found photography. It is an online community-driven project, working to create a space that generates conversation, questions, and curiosity. Lost and Found acts as an archive of people – a visual documentation of life. 

Statement

A visual artist, frequently working with found photography, archival imagery, and alternative photographic methods to explore questions of identity and ownership, whilst celebrating the mundane and vernacular. My creative practice supports my continued research into the role of the art venue – both physical and virtual – in how we create and disseminate art.

Contact

lostfoundphoto.com

@lostfound.photo

hannah.jeacock@yahoo.com

Degree

Arts and Project Management

Richa Verma

Unlock the new consumer path

OFFLINE GOING ONLINE

During my stay in New Delhi, I came across how people in India are coping with the pandemic. What interested me the most was the queuing system. There was a box drawn in front of the shop, keeping a distance of 1 m and people had to stand on that box and wait for there turn to buy daily essential products.

Concept

Big companies like Amazon, Nykaa, Flipkart, Zomato, etc. have already made their position in the market as an e-commerce brands in India.

But what about the small-scale retail & medical shops? As observed people are still putting their lives at risk and going to these local grocery stores and medical stores. They have to stand in queues for hours to wait for their turn and maintain social distance. There is a trust been built between the customers and these small retails? My concept will motivate these small retail shops to come online and sell their products through this app.

Through my application you can search the nearby grocery & medical store which you are already aware of, place your order and select the time which is suitable to you and a delivery person will be sent to these shops and will safely deliver your order.

With the help of this app small retails can increase their sales and maintain social distancing.

With the help of this application, people can easily order essential products from small retailers while sitting at home safe. And also these retailers can sell there products having minimum workers to support social distancing.

Unique Features

Once you open the app you will have a walkthrough in which you can see the precautions taken by us, to ensure your safety, i.e. Order Placement with minimum clicks, Zero contact between the delivery agent and the retailer, Contactless Delivery, Time to time sanitization and environment-friendly process.

Once the customer places the order and it gets confirmed with the retailer, customer will get the information like body temperature and medical history of the delivery agent and the guy who packed the order, ensuring the safety.

Once the food is delivered to you, your feedback is most valuable to us which will ask u certain questions like if the delivery person was wearing mask and gloves and maintained social distancing.

If one of the above precautions is not followed you can cancel the delivery.

With every order you placed, we will donate one mask and small sanitizer.(optional)

Yuting Hou

VR is this asteroid that’s going to hit the planet, apparently, in 2023.

Douglas Coupland

Statement

VR art with the coming of the era of “virtual reality” has come into being a new and independent category of art. In “Virtual Reality: an Empirical-Metaphysical Testbed”, VR art has the following definition: “In virtual reality (VR) and augmented reality (AR) applied to the artificial intelligence technology as a means of media art form, we call it virtual reality, art or art of VR.” Can VR art control the art world and change the way art is consumed and even sold? As the most technical art form at the forefront of this storm, how can we re-examine VR art and the impact of VR art on museums.  This has increasingly become a topic worth discussing. This paper starts with the introduction of a brief history of VR art, and discusses in depth the representative and forward-looking artists and their works in the FIELD of VR art. Through layer by layer analysis, it leads to the current situation and existing problems of VR art. Finally, the significance and development prospects of VR art are summarized to explore VR art practice in more depth.

Contact

Yuting.hou@mail.bcu.ac.uk

Degree

Arts and Project Management

Ella Oakley

The Arts and Project Management MA has allowed me to fully cultivate an understanding of the behind-the-scenes happenings of art organisations, cultural spaces, and visual arts projects.

My Final Major Project consists of a Research Paper and Project Plan. The research paper explores public art and memorial culture, accumulating qualitative and quantitative data to aid and enable a highly successful and competent project. Over the Rainbow is a project which aims to provide a memorial for those who have lost their lives due to COVID-19.

The public art memorial comes at a pivotal time for the architecture of public spaces in Birmingham. The city centre has few contemporary art sculptures and memorials, therefore I aim to provide a place of remembrance and connect communities in the West Midlands.

The Over the Rainbow memorial is for the living, not for the dead. It is crucial to remember the dead but support and solidarity is needed for the people still alive today; the people who are left behind. The key areas and explorations of the project are explored through my Objectives, Outputs and Outcomes, which are explained in the image below:

Public art offers critical reflections on the past, our present and our understandings of daily life. “It is impossible to have a society that is civil and educated without public art, it lifts up humanity and challenges the individual who encounters it to think differently about the world” (Walker, D cited by Laneri, R 2009). Traditional public art memorials historically form a literal representation and are hard to interact with, they form a strict formal boundary between them and the viewer. The familiarity of these monuments provides a metaphorical list of instructions on how to act or feel.

People are more likely to become active participants with contemporary public memorials, as many have no boundaries. The public is invited to make their own mind up, use their own imagination and to sometimes form their own meaning and interpretation of the piece. They are able to morph their own experiences and opinions with the artists’ and each other. The design of the Over the Rainbow memorial is pivotal, will the sculpture hide in the comfort of the literal or can it conjoin the contemporary?

I decided during the duration of the planning stage that in order for this memorial to be successful, a strong design concept and depiction is essential. The Over the Rainbow memorial aims to be a ‘collective anchor point’, this concept is explored by Kevin Lynch: “Collective anchor-points construct deep integration with individuals and become part of their ‘mental map’ of the city”, (Lynch, K 1960). I completed a mood board of initial inspirations found on Pinterest.com which can be seen in the screenshot below:

Please visit my blog where I articulate the progress of my Final Major Project paper. Outlined are my initial ideas and inspirations for the research paper and project; key areas of research; information and explanations regarding the questionnaire I conducted and why it was essential to my research; the project plan and vital exploration and lastly, my critical evaluation.

www.ellaoakleyartblog.wordpress.com

Artist Statement: I am a practising artist based in Birmingham and currently working as an Exhibitions Coordinator at the RBSA Gallery. I have a passion for operations, logistical and curatorial management within an arts environment. My artistic inspirations stem from the natural form, examining the relationship between the maternal bond and separation. I work predominately with fine-art-textile, producing sculptures that metaphorically represent this connection. I form hand-constructed woven or knitted textiles and combine other materials like plaster. These inspirations are emotive and explore the turbulent relationship between motherhood and feminism and also touch on the corporeal nature of the female human body with the abject.

Contact: email: ellaoakley002@gmail.com instagram: ellaoakleyyyart blog: www.ellaoakleyartblog.wordpress.com

References: Lynch, K (1960). The Image of the City, The M.I.T Press, Massachusetts Institute of Technology Cambridge, Massachusetts, and London, England. Available: http:// www.miguelangelmartinez.net/IMG/pdf/ 1960_Kevin_Lynch_The_Image_of_The_City_book.pdf. Last accessed 14.8.20.

Walker, D cited by Laneri, R, (2009). Why We Love–And Need–Public Art. Available: https:// www.forbes.com/2009/05/05/state-of-the-city-opinions-george-rickey-public- art.html#77bb29d342be. Last accessed 3.8.20.

Oheneba Mensa-Bonsu

Theatre is a collaborative art
A production at the South African State Theatre. Photo credit: Facebook.

Theatre and the COVID-19 Pandemic: the implications of COVID-19 on Ghanaian Theatre Practice

Research paper 2020

For this paper, I used theatre practitioner-based interview questionnaires to research the impact of COVID-19 on theatre practice and the alternative presentational forms that can be used to ensure that this sector continues to adapt and grow despite world-wide ‘lock-downs’. Due to my experience and knowledge of Ghanaian theatre, the main case study focus was the Ghanaian theatre and arts sector.

Photo credit: ASASE YAA African American Dance Theatre

Statement

As an international student who saw the worldwide impact of the pandemic whilst being aware of social and economic climate back home in Ghana, I wondered how my home country would brave the storm that is COVID-19. Watching in earnest as the British government took measures to curb the spread of the disease, I wondered how the Ghanaian government was going to handle the global implications of the pandemic and its effects on our economy, especially the arts sector. The Ghanaian art sector (especially the theatre space), an already struggling area is far behind things like STEM education which was seeinga rapid pace of growth and improvement. Hence, this pandemic left the theatre space in a very uncertain predicament. This realisation led me to ask myself a few questions: what would be the new way of theatre in this ‘new-norm’? This was the motivation that inspired me to research more into the subject area.

Keys areas looked at include:

Digital Inclusion
Socio-economic impact
Alternative forms of the practice

Contact

kmensabonsu@gmail.com

Degree

MA Arts and Project Management

Links

Photo credit: ASASE YAA African American Dance Theatre

Jiajun He

SOFT

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

Statement

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.

Contact

jiajun. He2@mail.bcu.ac.uk

Degree

Art and Design

Xuechun Yu

Statement

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.

Contact

Artist Website

angelicadesignshop@gmail.com

Degree

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.