Kate Knowles


The work below In-Lay is comprised of a triptych of abstract sculptural/paintings, created using cotton canvas with embellishments of thread and glass beads.

In-Lay Is contemplative and explorative. Using abstraction and a repetitive means of construction; (Hand-stitching) allowed me to initiate an inquiry into the phenomenology of trauma, its effects, and conclusions.

Samples of close up details from In-Lay


The effects of time on physical surfaces fascinates me. I record my findings by means of drawing and photography, which I use as a reference for painting, sculpture and video. I am a mixed-medium artist, recording the process as I work, sometimes the recorded process is used to create layered works.

My interest in the formless has recently shifted from nature onto the human condition, onto trauma, the abject, the repair, and the beauty that can be found in this altered state. Hopefully, my exploration will take me to a point of acceptance of the formless state. 


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

Rupi Dhillon


Rupi Dhillon is a British, Indian, (British Asian, Punjabi, and all things in between and beyond) multidisciplinary artist based in Birmingham, UK.

Dhillon explores the relationships and connections we have with one another and the land. Through her arts practice she investigates how multiplicity in culture is conducive to the concept of belonging and space. She is interested in facilitating discourse around race, gender and social class. Using playful techniques, her current work reimagines cultural experience through gestalt expression, participatory performance, shared practices, gifting and attachments in found objects.

She has both exhibited and completed residencies in the UK and has also been the recipient of the prestigious Gertrude Aston Bowater Bequest as well as the AIS Award more recently. Dhillon has both a BA Hons and MA in Fine Art. Dhillon currently works with contemporary art gallery IKON in Birmingham.

She is also interested in establishing further research into Cultural Dysphoria as a Philosophy.






MA Fine Art

An Encyclopaedia of Cultural Dysphoria, 2020

A collection of artworks, writings, theories and philosophies, 2020

The term dysphoria (from Greek: δύσφορος (dysphoros), δυσ-, difficult, and φέρειν, to bear) is a profound state of unease or dissatisfaction. In a psychiatric context, dysphoria may accompany depression, anxiety, or agitation. The term is often used to refer to gender dysphoria, experienced by people whose gender identity does not align with their assigned sex. Common reactions to dysphoria include emotional distress; in some cases, even physical distress. The opposite state of mind is known as euphoria.
Cultural Dysphoria could therefore be understood as the dissonance between the social expectations for an individual’s broad cultural performance or identity and their desired embodiment of that culture, or uncertainty about where they fit into cultural categories. Currently the only research into Cultural Dysphoria is a brief outline of general dissatisfaction with modern culture and the blog post by Ayesha Sharma. My research began with my own utter disdain for the patriarchal culture that exists in Punjab and India as well as the deep rooted colonialism associated with being British. Whilst there is still so much beauty within the Indian culture, much of its traditions leave me feeling very unsettled personally, through life experience – I reflexively write about mannerisms, identity, politics and the simplicities and complexities of multiplicity. 
I designed the logo based on the lotus flower. One of the essays included in the book is “Lotus Flowers: University as Swamp, on becoming the Lotus”. I hope to expand this encyclopaedia with further volumes in the future hence the 2020 around the lotus this being the first issue written in the problematic year of 2020), borrowing the design aspect of leather and gold embossing from the Brittanica Encyclopaedias, the lotus floats on the cover as a reminder to always grow toward the light in all of life’s conditions, be it the institution, political system or through the systems of familial ties. 

Nangal Khera, 2020

Sapele, Pine, Hemp Twine, Cotton Cord, Nostalgic Discourse, 2020 – Ongoing

Nangal Khera takes its name from the small village in Phagwara, Punjab, India. It is the place where I spent many of my formative years. 

The piece consists of a Manjha, (which is also known as a Charpai translating into English as ‘four feet’) a traditional piece of furniture native to India. It is a woven bed, often constructed from wood, with most designs tending towards metal structures in contemporary society due to the cost of materials, the longevity and the time taken to manufacture. This particular Manjha was made during the spring/summer of 2020 during lockdown and later completed in August, 2020. It is constructed from timber found in a shed. The language of Utilitarianism is built into the very fabric of the object, it was made as both a reminder of home and as a space for people to share their memories and stories. The process of weaving the Manjha is a labour intensive one, the act itself is one of weaving histories, particularly in the face of the situation we have all endured this past year.

In the rural village communities in Punjab the Manjha is often a communal space, all important decisions are made around it, vegetables are dried on it, friends sit on it, and the tired sleep upon it. 

The piece has now expanded beyond its original context, it has become a piece that travels, an object of social engagement, a place where people can have conversations about their pasts, about their connections to place. 

It is a participatory object, it invites people to interact with it, to be comforted by it, to gift stories to one another, and to become an active listener through its passive facilitation. 

So far conversations and interactions with the piece have ranged from memories of grandparents building their own Manjhas as far back as 20 years ago in Africa, as well as conversations around materiality and nostalgia for place. The piece has the ability to elicit memories to transcend histories. 

Written with Frederick Hubble, whose shed gifted us the materials.

Cha Wali, 2019

Participatory Performance
Bike, artificial marigolds, statue of Guru Nanak, gold basket, hot drinks dispensers
Documentation – Digital prints, 2019

The concept of Cha Wali originates from typically male street vendors in India selling Cha (Indian tea) from bicycles. In seeing a lack of innovation in Subodh Gupta’s Three Cow’s, I felt compelled to embody in performance the role of a Cha Wala. The noun itself speaks for only males who take on this role. In the piece I wanted to not only subvert this role but to also activate spaces and conversations around cultural phenomena, specifically the act of sharing Cha with the public. The British made Pendleton bike combined with a DIY aesthetic, of silk marigolds, a statuette of Guru Nanak (ducked taped to the handle bars) is typical to the aesthetic of a Cha Wala on the streets of India, yet this performance also seeks to understand the concept of gifting as all cups of Cha were given for free. Documentation shows interactions with different demographics of the public, ranging from workers of the city, students from the art school, homeless, builders and some of which recognised and connected with the act.

The Anthropology of the Self, 2020

Single Channel HD Video, 2020
(Images below show, 3 channel potentiality)

The Anthropology of the Self is a bricolage/ assemblage (in the Deleuzian sense) of several performances and a collection of videos of various sites with prose to form one coherent piece of work. The title of the work emerged from an investigation into shame, politicising of the body and power structures, as my specific body – through the period of lockdown.

In times of societal precariousness, perhaps we can look back on these myths, in attempt to understand empathy, compassion and morality.

Rupi Dhillon – The Anthropology of the Self, 2020

For more artworks and information please see www.rupidh.com

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.

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

Laura Towle


Vegan suede cord, Pleather, Wooden dowels, 3D Printed fittings, Velcro, Rug canvas. 160 x 160 x 160cm, 2020

Cowlick appropriates the phrase from the Hairy Ball Theorem ‘if a sphere were covered in hair you wouldn’t be able to brush it without getting a cowlick’. Towle brings this saying into realisation and injects it with humour. She produced a cow-size geodesic-sphere covered in vegan suede cord to resemble a Highland cow. The sculpture is offered as a challenge for spectators to attempt. Cowlick’s football structure is made up of 90 wooden dowels, 60 3D Printed fittings and 20 hexagon and 12 pentagon pleather panels that have been rugged with vegan suede cord using a latch hook tool.


Within her practice Laura Towle uses Topological models, drawings and concepts as a foundation for her practice. Towle is also concerned with environmental issues. Her most recent work Cowlick utilises the connection to the cow to highlight the impact agriculture has on our planet.

Towle extends these environmental concerns to maintaining a sustainable practice. Each sculpture is designed to be flatpack, to reduce the amount of transportation needed. While also considering how materials are sourced and produced.

Her production of traditional  geometric forms is achieved through various processes such as laser cutting and 3D printing. This extraction of mind-dependent topological concepts into large recognisable forms is first realised through a meditative drawing process. This systematic approach is also present within her making. Cowlick was produced by a traditional latch hooking method, taking lengths of cord and knotting them to a rug canvas.





MA Fine Art

Ye Wu

Ye Wu’s research and investigation this year has been primarily engaged with the field of Post-Humanism. It is related specifically to the concept of the ‘Cyborg’, stating ‘We have become cyborg, but we have not yet realized it ’ and how a dependency on contemporary technology in the form of smart phones and other prosthetic devices, impacts upon the human body and may be altering at a fundamental level human behaviours. He speculates on processes of communication between human and technology causing subtle changes in the physiological structure of the human brain. Its neural plasticity being altered by feedback loops and repetition. A new human is emerging, the ‘Trans Neural Creature’.


MP IDEA 010, Video, 1’34”, 1080P, June 2020, UK MP IDEA 011, Video, 1’45”, 1080P, July 2020, UK MP IDEA 006, Video, 18”, 1080P, June 2020, UK MP IDEA 005, Video, 17”, 1080P, June 2020, UK MP IDEA 004, Video, 48”, 1080P, June 2020, UK

We have become cyborg, but we have not yet realized it. When we can’t do without smartphones, and we can’t do without the internet, we become a cyborg. The highly developed data exchange method has made us a slave of information. News is a common way of publishing information. People’s mouths and faces have been deformed, and they are no longer humans as defined in the past.

MP IDEA 002 V2, Video, 49”, 1080P, June 2020, UK

Nowadays, with the continuous development of technology, network technology has brought about changes in people’s living conditions. The influence on people’s behaviour is obvious. Most people do not find their own values, their aesthetics are influenced by network culture and news media. Even the staff who carry out information release neglect themselves to become a broadcasting machine and a slave to information release. The rapid development of information technology has brought convenience for people to obtain information. At the same time, the authenticity of information is accompanied by the whole story of the information release strategy. Using big data technology to transform human thoughts, and then behaviour manipulation becomes possible.

Exhibition Plan

Exhibition Plan Video, 2’29”, 1080P, July 2020, UK

Portfolio of Trans-Neural-Creature


Ye Wu is an artist and visual designer working with a variety of processes and mediums such as graphic design, interactive installations, and photography. He has been a teacher of graphic design and digital media art for many years. His recent work focuses on the impact of human technological development on post-humanism. The continuous development of human technology has brought about changes in human behaviour and appearance. Post-humanism human psychoanalysis is the focus of his thinking. He is aiming to enlighten viewers, giving people access to his thoughts and feelings regarding this method of conception and the effect it has had on identity during posthuman. Using personal experience as inspiration, his work consists of narrative and form, giving the viewers an insight into his thought whilst reflecting on their own. At the same time, He studies the meaning of the macro world brought about micro photography and pursue the philosophical connection between the universe and life. He having been involved in multiple collaborative projects from different creative faculties, he recognizes the importance of artist collaboration. His other areas of interest are the micro world, the current state of contemporary society, psychoanalysis and dreams.