“In My Experience” 2020

The private view was a great success and we were all able to talk and interact with others, creating exciting discussions and debates about our current practices.

5 and a Half Years

“Five and a Half Years” 2020

Within this most recent work I have used the mindful, repetitive motion of drawing to cope with my own personal experience with mental health. This process-led practice reiterates the concepts of pain and endurance, as it shows the force exerted onto the paper, evidenced by imperfections in the rips and tears.

The drawing becomes activated by the void space, allowing the possibility of the continuation of the repetitive process. These marks are made up of written intrusive thoughts, which are no longer legible and raise questions about the public and private discussion around mental health.

Emily Arnold, Memoria Vitae 1

“The work explores the concept of memory; the universal experience of recalling the past. We remember selectively or forget absently. The fragile images warp, blur and fade.

The artist chose the unpredictability of the cyanotype process to reflect the transience of memory. Like water slipping through your fingers, the ephemeral blue of the images call to mind the ebb and flow of time. Using images of personal objects and family photographs instills the work with the personal experience”


Amelia Hand, Tongue-tied 2016

“This work was created during the artist’s first year as a Fine Art student at Loughborough. At the time, she was looking retrospectively at personal experiences of anxiety and depression, however, this piece has been in storage for four years now and has begun to degrade. It now holds a different meaning for her, both due to its visual decomposition and her own emotional development.”

Chaz Howkins, Self-portrait With Dream Poo, 2018/2020

These paintings explore Howkins’ mental state at two points roughly a year apart. The intention was for both paintings to feature imagery taken from their dreams. The first painting was created at a time that they were having distressing recurring dreams involving faeces; many analysts agree that to dream of faeces is the subconscious telling the dreamer to let go of something, usually a negative emotion. After Howkins made a significant life change, the dreams stopped. Now however, they no longer dream at all.


Sarah Warner, Heather Moors, 2019

“Through my work, Warner strives to recreate the feeling and experience of walking the harsh but beautiful landscape of the Derbyshire Moors; the painting encapsulates how she interacted and responded to the environment. She uses striking colours to express my perspective of this and quick chaotic brush strokes represent the howling winds that surround her when climbing the hills, whilst the fine textures and marks recreate the feeling of her hands brushing on the grass and her feet crunching on the soil and rocks.”


Rebecca Wymant, Firebird, 2019

“Each year society spends billions on cut flowers for use as temporary ornamental objects, knowing they will eventually decay and ultimately be discarded as waste. Wymant visually exposes the decomposition process and eternally preserves flowers in their wilting state, in order to challenge the preconceived idea that a dead flower is no longer aesthetically pleasing.

Using macro-photography, lighting gels and focus stacking, she captures and amplifies the flowers fragile forms, textures and minuscule details”


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