jerwood space – AmeliasMagazine

Amelia’s Magazine | Review: The Jerwood Painting Fellowships

Cara Nahaul – installation view

The 2010 Jerwood Painting Fellowship provided Clare Mitten, health Cara Nahaul and Corinna Till with the opportunity to develop their practice, adiposity through £10, story 000 each in prize money and six months of mentoring from leading artists Paul Bonaventura, Stephen Farthing RA and Chantal Joffe. The exhibition now running at Jerwood Space in South London is the culmination of this project.

Cara Nahaul

Cara Nahaul is the most classical painter of the three, using the traditional medium of oil on canvas. But underneath lies a more modern invention, as the paintings are based on photographs. Some of the images are very formal, others more casual, as Nahaul draws inspiration from her father’s homeland of India.

The paintings show soft, open faces painted with smooth, sometimes blurry edges. It doesn’t seem to be so much about the individuals, even though one image is an interpretation of a famous portrait of assassinated Pakistani Prime Minister Benazir Bhutto. Instead there is a general feeling of gentleness about the portraits, a neighbourly lack of controversy.

Corinna Till

While maintaining a core focus on painting, Corinna Till takes one step further by presenting her work through photographs. Leaning up against the gallery wall are four life-size images of Till’s paintings of gateways, held in place at the spots that inspired them. Natural textures of concrete and leaves are represented in broad strokes in Till’s paintings, creating an understated but strangely beautiful result. Till’s accompanying text speaks of making observations about material history and how things came to be the way they are, but even without the explanations of the conceptual meaning, it still works.

Corinna Till

Clare Mitten’s work is the most liberal interpretation of painting, with collage and paper models being the main medium for the items on display. Mitten’s practice involves reworking technological items such as cameras and headphones, recreating them in Blue Peter-ish models and in 2D paper collages. Sometimes you can see the artist’s fingerprints in the glue, and at other times the original function of the modelling materials (toothpicks, loo roll inners) poke through – as to highlight how high-tech items may seem mysterious, but at the core they are still just a collection of components.

Clare Mitten

UK-based painters can apply for Jerwood’s 2011/12 fellowship grants on the website – closing October 2011.

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The Jerwood Painting Fellowships runs at Jerwood Visual Arts until 26th June, at Jerwood Space, 171 Union Street, London SE1 0LN. Opening hours are Monday to Friday 10-5 and Saturday and Sundays 10-3.

The exhibition will be shown at the Glynn Vivian Art Gallery in Swansea between 9th July and 4th September.

Cara Nahaul is also part of artist collective Silent City – read our interview here.

Written by Jessica Furseth on Thursday June 23rd, 2011 12:02 pm

Categories ,art, ,Benazir Bhutto, ,Cara Nahaul, ,Chantal Joffe, ,Clare Mitten, ,Corinna Till, ,Jerwood JVA, ,Jerwood Painting Fellowships, ,jerwood space, ,london, ,painting, ,Paul Bonaventura, ,south bank, ,Stephen Farthing RA

Amelia’s Magazine | What art says about us: An interview with Silent City

The new publication from Silent City, page ‘Art and Activism’, visit web poses three key questions: Should art be separated from activism? Should art have a political value or function? Should art be radical, remedy critical, resistant or subversive? While Silent City has chosen activism as the focus of its examination, the key question is one that can be applied to any art discussion: What do we want art to say about ourselves?

“The political value of art will always be disputed, [but] it cannot be denied that there is a relationship,” says the Silent City trio. “Modern UK activism is incredibly creative, from the actions of Climate Camp to art collectives such as the Vacuum Cleaner. It may not be always overly political, but it is far from separate.” At all times in history, art has told a story about the politics of its time; just consider the identity of the people in the pictures, or the subtle ways in which the artist undermined the status quo.

Claire Roberts at the Silent City symposium. All photography by Sally Mumby-Croft.

Art and Activism
‘Art and Activism’, which Silent City hopes to publish later this year, was created from submissions following a call-out to several arts websites. The final choice was up to Sally Mumby-Croft, Cara Nahaul and Emily Whitebread, who had partnered with Peter Eramian, editor of Shoppinghour, for the project. Designed by Simon Sherlock, the finished product contains a combination of photojournalism, poems, essays and documentation of actions undertaken by the artists.

Last year Silent City presented a symposium (review) focusing mainly on climate change, but this latest publication shows the trio has a broader mandate.

“The original idea behind Silent City was to produce three separate exhibitions, exploring the three pillars of the UN’s 2005 World Summit outcome document: economic development, social development, and environmental protection,” says Silent City, pointing out how these three elements are interconnected. The symposium included references to social and economic consequences of climate change, meaning ’Art and Activism’ felt like a natural progression.

The big issues
As the issue of climate change moves from being a scientific concept to something that infiltrates everyday life, people increasingly feel like they want to do something. But where do we start with such an overwhelming issue?

“It’s overwhelming because it is a crisis that affects humanity as a whole,” says Silent City, referencing Anthony Giddens’ book ‘The Politics of Climate Change’. “He explains that this is precisely one of the reasons why we cannot face up to the consequences of climate change. Society is always pressed by more ‘immediate’ concerns – a situation which is taken advantage of by politicians and policy makers who continue to distance themselves from making radical and concrete gestures towards combating the issues.”

Having said that, the past year has seen activism come back on the agenda in a big way, with widespread protests against coalition cuts and the rise of activist groups.

“[This shows] activism trying to find alternative dialogues and use inspiring visual methods to find alternative solutions. The work of Art Not Oil and Liberate Tate in the face of the BP oil spill is immensely inspiring,” says Silent City, further listing the emergence of Art Uncut, the occupation of the Slade School of Fine Art and the development of the Free School.

Sally Mumby-Croft has created a short film, ‘Edgeland’, bringing attention to how parts of the Hackney Marshes are being sacrificed for the Olympics – but this is an issue where little can be done.

“I wanted to draw attention to the spaces so often ignored or perceived as desolate. [The East Marsh] is a space shared by many people for many different purposes and yet it has been decided that this land will be temporarily paved over to make way for a car park. A space teaming with football pitches and dog walkers will become a concrete block. I think that’s terribly sad, and I think it’s immensely important that this issue is discussed. [… ] Hopefully it will encourage viewers to question their relationship and use of public space.

Ways of seeing
Cara Nahaul, the founder of Silent City, is currently a painting fellow at Jerwood arts centre. Asked about the place of activism in a typical ‘fine arts’ practice like painting, Cara points out how she sees her practice as discussing her culture and background, and exploring it within a larger political meaning.

“I feel that audiences have moved away from the assumption of expecting ‘nice’ things from contemporary painting,” says Cara. “In attempting to discuss painting with video art, we tend to think of a hierarchical relationship in which the visual language of painting came first and cinema learnt from it. Today cinema has developed a strong and autonomous language whilst painting is often criticised for its inability to reflect on contemporary society. For me, this is where I find the freedom for my own work. Whilst I am unsure about a place for activism within painting, I believe that painting can still challenge our ways of seeing.”

Art is rarely created just to be something pretty to look at, but with each added layer of meaning it gets harder for the layman to ‘get it’. Even so, it may be wise to leave reading the leaflet till last, says Emily Whitebread, who is just finishing her degree in Art Writing.

“My personal response to writing about an exhibition or an artist is not to read too much beforehand. This works particularly well if I am unfamiliar with the artist or exhibition, as I prefer to absorb as much as possible from experiencing the work without external influences. I then incorporate these reflections in my writing and only when I feel satisfied with my initial response do I then look at external sources.”

The New Educators
Shoppinghour-editor Peter Eramian has also had a hand in selecting the works that make up ‘Art and Activism’. He describes Shoppinghour as “a hub from which we spawn other collaborative projects and events”, with an ambition to mobilise and inspire creativity in response to political, cultural and social issues. Still, Shoppinghour is not just a tool for political activism, says Peter, explaining how there is a theoretical foundation to Shoppinghour:

“Both Yasushi [Tanaka Gutiez, co-founding editor] and I are basing our doctoral research on understanding the New Educators of our time: individuals and collectives inspired by a heightened critical awareness of culture and the active employment all mediums, disciplines and practices in their critique of society and ruling ideologies. We’re fascinated by the reconstruction of the activist epistemology and its potential to subvert, and hope that through Shoppinghour others too will be fascinated with us.”

The Shoppinghour magazine is currently in the phase of significant expansion, including a new distribution deal that will see the magazine sold across London. Still, the quality of content will remain the first priority:

“We’re certainly not prepared to compromise the quality of our content. But then, neither are we cynical enough to believe that the ‘larger audience’ is somehow less sophisticated,” says Peter, adding that it may be equally complacent to reject the popular and only focus on the opposite, “that which is uncommunicative in its overabundant self-important ‘sophistication’.” So while Shoppinghour wants to tackle its subjects with “substance and gravity”, we can also expect an edge that is “playful and accessible, alternative and punchy”.

Shoppinghour issue 7 – Rights

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Keep an eye on Silent City’s website for details on ‘Art and Activism’ – here.
Sally Mumby-Croft’s film Edgeland can be viewed here.
Cara Nahaul’s work can be seen at Jerwood Space until 26th June – details here.
Emily Whitebread is part of arts group X Presents – read about their projects here.
Read more about the developments at Shoppinghour on its website here.

Written by Jessica Furseth on Wednesday June 8th, 2011 4:56 pm

Categories ,activism, ,Anthony Giddens, ,art, ,Art and Activism, ,Art Not Oil, ,Art Uncut, ,BP oil spill, ,Cara Nahaul, ,Climate Camp, ,East Marsh, ,economy, ,Edgeland, ,Emily Whitebread, ,environment, ,Free School, ,Hackney Marshes, ,jerwood space, ,Liberate Tate, ,London Olympics, ,Peter Eramian, ,Sally Mumby-Croft, ,Shoppinghour, ,Silent City, ,Simon Sherlock, ,Slade School Of Fine Art, ,society, ,The Politics of Climate Change, ,UN’s 2005 World Summit, ,Vacuum Cleaner, ,X presents, ,Yasushi Tanaka Gutiez

Amelia’s Magazine | What art says about us: An interview with Silent City

Claire Roberts at the Silent City symposium. All photography by Sally Mumby-Croft.

Last year Silent City presented a symposium (review) focusing mainly on climate change, but this latest publication shows the trio has a broader mandate.

Having said that, the past year has seen activism come back on the agenda in a big way, with widespread protests against coalition cuts and the rise of activist groups.

Shoppinghour issue 7 – Rights

– – –

Written by Jessica Furseth on Wednesday June 8th, 2011 4:56 pm

Amelia’s Magazine | Jerwood Drawing Prize 2009-Last chance to see drawing’s finest

The Teach-In was held last week at the V&A and a packed hall of students, information pills faculty and staff – as well as 22 institutions around the world tuning in to the live Internet broadcast – were there to respond to the critical issues of our time, dosage resource depletion, loss of biodiversity and especially the issue of climate change.

One of the main aims of the event was to focus on the role of the design community in facing these problems. The design community is well placed to offer solutions as well as educate people towards an ecological literacy, an understanding and awareness of how to work towards a sustainable future.
One of the main problems addressed is the need to communicate the climate science to people; often dry documents, facts and figures fall short on getting the audience engaged. It is up to designers to try to communicate this and engage the masses. Eco Mag No.1 ‘Future Scenarios’ designed by Eco Labs, a network of designers and visual artists committed to addressing environmental problems, is an example of how this can work. The magazine features an array of artists who respond to the different scenarios we face in a hotter climate, based on Mark Lynas’ book Six Degrees.

Amelia’s Magazine is also publishing an Anthology later this year where we have worked with over 20 Illustrators to picture new and sustainable technologies, you can pre order your copy now. Engaging people through imaginative and visual medium is one way we have looked to help to develop an ecological literacy. Science is never going to be a way in for most people and these two methods are great examples of addressing the problem.

The Teach-In hosted a range of inspiring speakers, Richard Hawkins a researcher at PIRC, that has developed major reports ‘Climate Safety’ and ‘zerocarbonbritain’, opened with a great slideshow illustrating the problems we face. Emma Dewberry talked on Nurturing Ecology in Universities and highlighted some student work like the streetlights that respond to the moons cycle designed by the Civil Twilight collective.

The event also gave the audience the chance to get involved with activities and discussions, and it was great to see what ideas we could come up with as a group in such a short space of time.

After a quick lunch, speakers from the Tactical Technology Collective gave a talk on their work. They offer guides, tools and training to help groups and organisations increase the impact of their campaigning. Obviously very committed, co-founders Stephanie Hankey and Marek Tuszynski offered an insight of some of the projects they have been working on. One they told us about that is particaularly worth mentioning is Information is Beautiful, a site that has a range of amazing illustrated charts and diagrams, go check it out, it has kept me engaged for the past half an hour.

To end the day John Thackara, director of Door of Perception, gave us a whirlwind tour of his 3-step plan for Universities and the importance of adapting the curriculum to educate about the importance of sustainability. His idea that we should stop making stuff to fix other stuff was also really interesting. He illustrated his point by showing how things like mobile phones and electric or green cars require huge amounts of energy and materials that then render them completely unsustainable.

Jody Boehnert, event organiser and also an integral part of Eco Labs, finished with a debate and a quick consensus decision making on the 2012 imperative, which can be viewed here. It sets the aims and points out what individuals and the educational institutions can do to tackle climate change.

People left discussing how to implement some of the ideas developed by the Teach-In, in particular, how Universities and workplaces can work towards some of the aims.

The day inspired another group of people that will hopefully continue to implement the imperative and spread the word in any exciting visual and imaginative ways they can think of!

Make sure you join the movement and visit the website and sign up to the 2012 Imperative.

The Jerwood Drawing Prize is back again for another year and 2009’s hopefuls won’t disappoint. The longest running annual exhibition has been going since 1994 and is dedicated to promoting and rewarding excellence in contemporary drawing in the United Kingdom.

Spaced over two rooms, sickness the first piece I come to is by artist Kate Russo, whose two works sit on top of one another. The first, “Dissolving Symmetrically” and the second, “The Key Is Repetition”. Both pieces are done on graph paper, working in the confines of grids. Amongst the mass of verticals and horizontals, Russo has rendered an extremely intricate network of minute coloured squares. Using coloured pencil and graphite she has systematically filled in alternate boxes to eventually build up a repeat pattern that you can only distinguish from a distance. It is clear that time and dedication has been taken to carry through this task she has given herself. It is interesting because the outcome of this drawing was predetermined by the system she chose to follow to colour in the squares. As I look closer the tiny dots almost look as if they’re vibrating, bouncing off one another like molecules in an atom. Or perhaps they even appear to be working ants, busying themselves around a nest. This is quite a satisfying piece of art to study, especially if you have a thing for mathematics, rules or systems.

The work of Catherine Nicholson is quite arresting as my gaze moves over to the next piece. “After The Storm” is in pen and ink on a large canvas. It is the most intrinsically rendered drawing of a collection of apparently decomposing branches, leaves and foliage. On closer inspection you see that Nicholson must have used an extremely fine nibbed pen to achieve the level detail, from the veins of the fern leaves, the cracking of the bark on the branches to the areas where the leaves are starting to decompose. At first this may appear to be a very well executed study of nature but the title makes it take on a new meaning. “After The Storm” makes you think that these are the debris of a natural disaster maybe. Where they all once growing peacefully somewhere in an undisturbed habitat? Perhaps now ripped from their surroundings and discarded in the dirt by the storm.

Another two drawings by Japanese artist, Yumi Shimada are displayed to my far left. One sitting on top of the other, “Self Portrait 2008” is drawn in black ink on paper, showing an unknown formless being in the centre of each frame. The undeterminable origin of this creature, no visible facial features and its forthright position on the page is quite confrontational. The surface is made up of dark, black cross-hatching to give a sense of a thick, dense mass. The first drawing shows it slumped over the length of a small table, almost as if it can longer take it’s own weight. The second is far more disturbing, depicting the creature sending itself through a mangle and turning itself into a black, viscous liquid on the other side. The scene described is actually quite disturbing. It appears that it is performing this act of it’s own will. I am brought to mind the ‘stink-spirit’ character, Okusare, in Spirited Away – a sloth-like, sluggish being. I try to work out the connection between the two pictures. There is perhaps a sense of despair in the first, which may consequently lead to the macabre finality of the second. Shimada says that the portrait shows her squeezing negative thoughts through the mangle, somehow disposing of them. The world that this creature inhabits is not one I recognise. The influence from Japan and the Japanese fantasy genre is apparent. The ominous nature of it and connotations of the dark under-belly of somebody else’s imagination does not make for particularly comfortable viewing. At the same time, I have conflicting feelings that it is strangely compelling. A morbid curiosity to look at something you know will scare you.

The final artwork that I come to is also my favourite. The most reserved of all the pieces on show in size and yet the most monumental in its stature, Samuel Kelly’s “Tokyo Aero-abstraction 7” is quite awe-inspiring. If I had thought the previous drawings had a good eye for detail, it doesn’t compare to this. Drawn on a tiny square of paper, dimensions probably no more than 4cmx5cm, it appears to show an aerial view of a city or road system. Even standing at a normal distance away, it just looks like a grey block of colour. You are invited to stand much, much closer – my face is literally inches from it. Only then can you really see a tiny network of roads and buildings and appreciate its complexity. It is so tiny in fact, that I can only imagine that Kelly would not have been able to draw this with a pencil nib any finer than the point of a pin. I have to say, without delving any deeper into its underlying meaning, it is easily impressive enough as it is. The modest frame seems mammoth in comparison. It allows it so much space, emphasizing even more it’s miniscule proportions. There is something quite impressive about creating work on a microscopic level, like the artist who makes objects to fit on the head of a needle.

There are many more notable examples of drawing on display today, even in a relatively small gallery space; you could spend hours soaking in the extraordinary talent showcased. This is the last week of the exhibition’s run, so head over soon to avoid disappointment.

Written by Jessica Stokes on Wednesday October 21st, 2009 4:46 pm

Categories ,catherine nicholson, ,Jerwood drawing prize 2009, ,jerwood space, ,kate russo, ,mit senoj, ,samuel kelly, ,yumi shimada

Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie Brennan Jerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love.

Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Written by Amelia Gregory on Wednesday September 14th, 2011 5:51 pm

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)