展览｜UCL Slade BA/BFA Fine Art Degree Show 2024
收录于话题
BA/BFA Degree Show: 17–23 May
MA/MFA Degree Show: 8–16 June
Open to the public: 10 am–8 pm weekdays, 10 am–5 pm weekends
展览现场
我曾经历过创伤后应激反应，因此我的创作为我提供了一个喘息的空间，在这个空间里，我可以思考情感，并以一种实际的、物理的方式讨论情感的功能和重要性。我乐于通过自己的作品向人们伸出援手，并希望在逆境中安慰观众，或纯粹给予共同体验或共鸣的概念。
Enjoy Your Life, Betty Ogún, 2023, acrylic, calico, 85 x 110 cm
Betty Ogún, 2023
Cheerleader, Betty Ogún, 2022, acrylic on calico
Those who fight, Betty Ogún
02* Coral Harding
我的作品以特定场地雕塑、绘画和油画的形式探索记忆、传统和文化体验的感性。我使用仪式和纪念活动中使用的材料，包括丁香、柳枝和复杂的金属物品，通过展示这些材料暴露在外的、令人难以抗拒的感官潜力和触感，传达这些材料的敏感性和脆弱性。在我展示作品的空间内，我利用现有的建筑特征，通过感官的运用来突出特定的结构细节。我探索气味在情感上的穿透力和令人回味的性质，以及它破坏空间界限稳定的能力。在压缩与扩散、容纳与扩张、建筑与氛围之间进行抒情。我的祖父曾随英军驻扎在利比亚、马耳他和塞浦路斯，我利用最近发现的1940年至1983年期间的家族档案资料，试图了解暴力是如何凸显帝国家庭单位的，以及我这个白人、跨性别、经常生病的身体是如何在这些结构中形成和分类、受益和受苦的。在阅读档案资料的过程中，我试图开始形成一种既能展望未来又能持续治愈的生活方式，同时将我们被灌输的爱的方式中蕴含的持续的暴力纳入自身并慢慢代谢掉。伊芙-科索夫斯基-塞奇威克（Eve Kosofsky-Sedgwick）的《修复性阅读》（Reparative Reading）、尼古拉斯-米尔佐夫（Nicholas Mirzoeff）的《白色视线》（White Sight）和米歇尔-墨菲（Michelle Murphy）的《改变生活》（Alterlife）是形成这种实践的重要理论试金石。
Redolence, Coral Harding, 2023, cloves, terracotta earthenware clay, 163 x 54 x 2.5 cm
Redolence (detail), Coral Harding, 2023, cloves, terracotta earthenware clay, 163 x 54 x 2.5 cm
To Dwell Beneath, Coral Harding, 2022, willow branches, pinewood, 110 x 120 x 15 cm
Of the Wind, Coral Harding, 2023, earth pigment in oil on wood, steel. 22.7 x 14.6 x 2.4 cm
The Hollow, Coral Harding, 2024, paint stripped wooden floorboards oiled with clove oil, ground cloves pressed into the floorboard gaps, white wall paint, plywood wall, 224 x 92 x 120 cm
03* Ed Burrell
Untitled, Ed Burrell, 2024, heirloom rocking horse body, time capsule, packing plastic, pallet wood
Dormy Hotel Letter, Ed Burrell, 2024, embroidery thread, cotton fabric. 30 x 42 cm
Untitled, Ed Burrell, 2024, clip frame, archival letter and dance invitations, 21 x 30 cm
One (Hilary), Ed Burrell, 2024, oil on birch board, 15 x 21 cm
Archive, Ed Burrell, 2024, archival boxes, archival material, clip frames, broken glass, embroidery thread, cotton fabric
04* Gabriele Ciulli
The Burrow, Gabriele Ciulli, 2024, documentation
Altopiano, Gabriele Ciulli, 2024, mountaineering boots on roof
Pit Exit, Gabriele Ciulli, 2024, fire exit signs
Studio 14, Gabriele Ciulli, 2024, cut-out floor boards
Slade, Gabriele Ciulli, 2024, cast aluminum
05* Guanyi Chen
我的作品以系统为基础，包括人体系统、人类社会系统和机器（文明的发明），它们都以循环的方式运行，模式重复，但并不总是完全相同。在它们恒定的节奏中，我被那些不符合规则或不在它们应该在的地方的小细节所吸引。我想知道这些不完美是什么？是什么形成了它们？它们是如何影响其他部分的？沿着这些痕迹，我最终会到达哪里？最终，在不知不觉中，我沉浸并融化在这个不知名的区域。
Mental Crustal Movement, Guanyi Chen, April 2024, oil on linen, 152 x 137 x 1.7 cm
Human Glitch, Guanyi Chen, December 2023, oil on linen, 140 x 35 x 3.5 cm
Map of A Semi-Private Park, Guanyi Chen, 2024, oil on canvas, 122 x 81 x 1.7 cm
When That Zone Brings Me Timelessness, What Else Is There?, Guanyi Chen, February 2024, oil on linen, 152 x 137 x 1.7 cm
06* Henry Galano
Still from ‘The Emcee’, Henry Galano, 2023, digital character, motion capture and vocal performance
Aether.Exe, Henry Galano, 2023, 500 litres of water, tarpaulin, timber, black acrylic, 9.5 x 300 x 480 cm
The Lethe Room, Henry Galano, 2024, PLA, metal leaf, dimensions variable
07* Kamyar Baghestani
Infinite Horizon, Kamyar Baghestani, 2022, digitally manipulated image through coding, 36 x 36 cm
Mystic Reverie, Kamyar Baghestani, 2024, digital painting made with custom brushes, 30 x 21 cm
Resonant Echos, Kamyar Baghestani, 2022, digitally manipulated image through coding, 36 x 36 cm
Silent Embrace, Kamyar Baghestani, 2022, digitally manipulated image through coding, 36 x 36 cm
Tranquil Oasis, Kamyar Baghestani, 2022, digitally manipulated image through coding, 36 x 36 cm
08* Marika Tyler-Clark
Ram, Marika Tyler-Clark, 2024, charcoal on paper, 1.5 ft x 11 ft
Cleft, Marika Tyler-Clark, 2024, monotype, 16.5“ x 23.4”
Mercurius, Marika Tyler-Clark, 2024, charcoal on paper, 5 x 4 ft
09* Meghan Salisbury
I remember them with my stomach, Meghan Salisbury, 2024, oil on canvas. 2 x 1.35 m
Marsh mouth Marsh mouth Marsh mouth, Meghan Salisbury, 2024, oil on canvas, 2 x 2 m
Dusk, Meghan Salisbury, 2024, oil on canvas, 2 x 3 m
Growing reclining figures, Meghan Salisbury, 2024, oil on canvas, 2 x 2 m
Studio wall with 'scraps' paintings, Meghan Salisbury, 2024, Fruit netting, cotton wool, sponges, scourer, chicken wire, newspaper, masking tape, paper packaging, hairband, can, string, tissue paper, white tack, adhesive plaster, towel, wooden fork.10* Scarlett Rose Pochet
Tail Of Tales, Scarlett Rose Pochet, 2024, latex, metal rods, waxen ribbons, 350 x 60 x 60 cm
Silken Beauty III, Scarlett Rose Pochet, 2024, photographic print of made object on Somerset photo satin 300gsm paper, 33 x 22 cm
La Danse Joyeuse (The Dance of Joy), Scarlett Rose Pochet, 2024, print on silk satin, 200 x 80 cm
Oyster Eater in Her Snail Mail, Scarlett Rose Pochet, 2022, dress made from agar, coffee, hemp and empty snail shells and chain mail, dimensions vary
Tooled Up (detail shot), Scarlett Rose Pochet, 2023, fabric from old clothes, rose thorns, wire, latex, dimensions vary11* Minsuh Song
73 (ver.2), Minsuh Song | ???, 2024, silicone, metal, makeup product
73, Minsuh Song | ???, 2024, silicone, metal and makeup product
Grab, Minsuh Song | ???, 2023, silicone, resin, clay, sesame, and furs
Step by step, Minsuh Song | ???, 2024, expanding foam and spray paint
Intentional and Unintentional, Minsuh Song | ???, 2020, rubber gloves, beeswax silicone, speaker, motor and bricks作品信息和图片源于UCL Slade官网https://www.ucl.ac.uk/slade/ & Ben Raz
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