MA Design and Applied Arts
By combining the inspiration of natural, graphical textures with environmental consciousness, my work as a designer has an approach related to the numerous scales of living things, from our basic ‘DNA’ to the most beautiful mathematical structures such as ‘Bee Combs’.
I seek meanings behind every living creature, exploring the spectacular textures of live organisms through the lens of a microscope. Applying this natural inspiration to my designs solutions not only blends with the beauty of nature, but also strives to be as environmentally friendly as possible.
`The first impression is the best impression` this `green airport` has a futuristic and environmental approach to greeting international visitors, with the intention to reduce harmful emissions, and conserve energy. My project includes departure pavilions, partition wall designs, benches for the waiting areas and direction signs, which have all been influenced by my organic and artistic approach.
My design work takes a critical view of social and ecological issues in contemporary society specifically, environmental pollution, earth population and the fact that we are running out of space. My work considers what a modern city will look like in the future and the range of ideas and new concepts that underpin new thinking, for example, floating cities and floating houses.
My inspiration comes from sea waves and the lines and shapes that can be seen in the movement and formation of the waves. Water is one of the most important design elements within my work. Developing city sites on water is becoming an increasingly popular new trend, inspiring an interaction between architecture innovative new materials, light and water. My work is dependent on an aesthetic that satisfies a desire for luxury and wellbeing. The main materials that feature in my work are corian, a new generation material and combinations of wood and metal.
This exhibition concludes a body of work looking at the broad themes of family and the passage and visualisation of time. Within these areas my Theseus has looked at the therapeutic nature of creating and so process is at the heart of all that I do. Creating the screen prints of 830 Days was a physical exorcism of the time invested in trying to become a mother, carrying the child and then ultimately the miscarriage.
My hope is that by the end of the exhibition my story has been shared and dispersed, that all 830 sheets will have been taken and all that remains is a bare plinth, ready for something new to be placed there. In An Act of Faith, each stitch is a prayer, a sign of longing and a recording of my personal investment into making an item that has no guarantee of ever being used. Its title comes from reading the gospels where each time, before a miracle took place, a person with faith acted. No miracle happened with out faith first. This is my act of faith.
Contact: 07766 20 7653
My work takes its inspiration from Chinese landscape painting and Taoist ecological ethical philosophy. Chinese painting is based on Chinese ink, it would appear the ink and water mixed together and special effect. Chinese painting it embodies the traditional Chinese philosophy and aesthetics. I combine this unique aesthetic element and glass material, exploring different techniques to achieve different aesthetic effect.
Taoism culture emphasizes the harmonious ecological idea. The elements of landscape in my work is the natural element representation, we all love natural landscape, when we enjoy its beauty we should protect it, in order to retain ecological concept of harmony between nature and human. I use medium of glass to express these philosophies.
Colour, form and function in Imperial ceramics.
I’m interested in the qualities of Chinese monochrome vessels of the Ming and Qing dynasties. For more than eight thousand years Chinese potters have made ceramic vessels both for daily use and for ceremonial purposes. The form and colour of an imperial ceramic piece are often indicative of the function that it served. Imperial meals included a wide range of delicacies serves in a dazzling array of owls and plates, each distinct in form and decoration. During the Qing dynasty, ones rank determined the colours and patterns that one could use at a table. During the Ming and Qing dynasties, alter vessels such as stem cups and censers, which had their origins in bronze forms, were often made of porcelain. Monochrome wares were specially produced for the four alters used for imperial ceremony and sacrifice. Brilliant yellow ceramics were used at the Alter of Earth and deep blue ceramics were used at the Alter of Heaven.
Asking the question “What is art?” is like asking the question “What is Peace?”
These questions are too broad and must be framed more closely. In order to provide a visual response to such complex issues, I have chosen to explore the question of art that will touch the subconscious. I have chosen the concept of danger to explore the fragile thread that keeps our world in balance.
My work considers texture, light and contrast to explore this. My inspiration comes from the tensions that exist between nature and mankind. The shapes are simple and geometric. Natural elements are controlled in basic shapes. The sublime occurs through the use of different textures, colours and suggested movement to reveal an implied threat and a visual danger.
I am interested in creating handmade objects through which I can communicate my innermost feelings. My vessels explore the relationship between fragility and strength, logic and emotion. Touching the clay enables me to convey these feelings through the repetitive actions of developing hollow forms. I use very rough brick clay to create my work which for me represents the physical state of the human body. However my forms are delicate and petit representing my emotional state.
I am fascinated with ‘clay’ as a material that has been extracted from the Earth as rocks and strata and it is this feeling which I wish my own work to embody. As a form, I am drawn to the Tulip as it has cultural significance to Turkey where it is considered the embodiment of perfection and beauty. My forms reflect the quality of the tulip, both metaphorically and physically. Just as the rock brings strength into my works so the tulip evokes a fragile and ephemeral state. My practice continues as a voyage of self-discovery as new influences immerge and combine to form my artistic practice.
The personal design and aesthetic of a home relies predominantly on the requirements and lifestyle of the people that will occupy it. Creating a sense of space and comfort in a small, compact house has been a priority in my design thinking. Economic use of space and the aim to make a minimal footprint on the landscape has informed my ideas in the design of a small but functional house. Cost has also been a crucial consideration. As the world population increases year on year, designing small, functional homes can assist in creating more effective, economic living environments.
I elected to design a small house located in the countryside, to be used for either holiday or permanent living. Despite the abundant land space in the countryside, the environment has to be respected and protected. The aim is for the design to make as little impact as possible on the location in which it will be constructed. My influence was the mountains - a place where people go to feel refreshed, relaxed and exhilarated as they explore the magnificence of the environment.
Language is a fundamental life-skill. It enables us to understand the world around us, connecting us to other people. Visiting foreign countries, where languages are alien to us, provides an insight into the insecurity experienced by those who are excluded to the full range of the spoken and written word.
Through my work I hope to articulate the way that language excludes or includes people. To achieve this, I have focused on creating a textile language that visually explores these concepts. Written communication assumes the viewer is literate and understands the language that is used, whereas visual language is wider reaching, crossing national and other boundaries.
During my MA I have created handmade yarns that, through their construction, convey various ideas linked to exclusion and inclusion. I have used these yarns to inspire a final collection of dresses, mixing, manipulating and ‘spinning’ my concepts to arrive at creative statements that express a textile dialect.
‘City’ is the universally recognized descriptor for population conurbations. The skylines of the worlds’ famous cities are one of mankind’s greatest visual and physical achievements. The world has become lively and complex. Cities have changed the patterns and trends of modern life, modifying the living environment for massive sections of the population. The city has become the largest, most concentrated, wonderful stage on earth.
As a response, my glasswork is divided into three parts. The first section describes the city as a ‘roly-poly toy. Like the toy moves and stays in balance, so does the glass form, representing the need to establish an equilibrium between the city infrastructure and its’ population. The second section is described through a combination of flowers and the city; expressing mankind’s need to retain a connection with nature. The final section focuses on the production of three tall vases that describe the architecture of the city.
Matthew David Marsh
Decanter and Shot Cups (Prison Farm Project) – Slip Cast Porcelain
Walking around an abandoned prison farm in the village where I live you gain a real presence of the history of the place. From its use as a farm to its previous use as an ammunitions factory in the War the pieces capture the essence of the place, drawing inspiration from decaying items such as machinery, boxes and various surfaces. Imbedded with meaning the work captures the current state of the farm whilst portraying an underlining presence of the time and history behind the place.
My work focuses on the collaboration between nature and design, taking inspiration from the three major elements of nature - animal, vegetable and mineral. My exploration focused on a study of the structure, patterns, layers and colours found in nature, experimenting with different materials to mimic the properties I wanted to capture, described through models, image montages and photography. Colour psychology and the use of light is an important element of my work, intended to influence the viewer’s mood, creating specific ambiences in the surrounding environment.
The methodological conclusion I have arrived at for my work has been to create silhouettes of the natural subject matters patterns, layers and structure, using light and colour to broadcast the spaces created between the solid forms.
Many artists and designers, such as Thomas Heatherwick, Richard Weston and Yayoi Kusama, as well as landscape photographers have provided inspiration and influenced the direction for my work.
My work pursues the concept of protection. During my studies I have become increasingly intrigued by this concept. We all need to protect ourselves in different ways and most of the time we do this instinctively. Nature provides the most successful and complex protection in the form of skin, feathers and fur. Animals have many forms of protection. The one that intrigues me the most is camouflage.
Hydrochromic inks have inspired my work; I wanted to create clothing that reacts to its environment. I believe that people use the clothes they wear to communicate. Some people choose to express parts of their identity through the image they portray while others try to hide and disguise parts of themselves.
Through my work I want to express the idea of disguise; the fashion equivalent of camouflage. This is where my idea for a water-reactive raincoat originated; just like the chameleon, the coat changes according to its environment. The idea behind my digital printed lingerie is the thought of wearing your heart on your sleeve, wearing your identity as a print for all to see.
My post graduate research has concentrated on modular and flexible spaces. I am interested in multi-functional environments that can adapt and change according to circumstance. My design methodology has focused on the study of geometrical shape and an understanding of the structure and strength of three dimensional forms.
The major innovation in my work is concerned with the interaction of modules and how their capacity to connect in a variety of combinations. My final work is a proposal for a temporary living solution for construction workers, which is modular and transportable, providing the capacity to adapt to the various sites and environments under development.
Memory and provenance imparted to an object through its contact with the human race are the core inspiration for my work. Exploring the complex relationships we have with our memories and personal associations, I am continually fascinated by the value we construct around everyday belongings. This ability to iconize memories and weave new interpretations and stories around possessions offers an intriguing combination of sentient and material elements.
This body of work is informed from inherited vintage fabric & clothing and my associations with them; strength, femininity and fragility. My glasswork explores the beauty of imperfection and celebrates the effects of time passing with a visible lifetime displayed on the surface texture of an object. Heirloom textiles and hand carved print blocks were used to create the casting moulds that translated the intricate relief detail onto the glass.
The inspiration for my work derives from the Chinese concept of Yin Yang, the philosophy of which sees two opposing energies within the universe; one energy cannot exist without the other. To express this concept I use the simplicity of wheel thrown cylindrical forms with my main focus on an installation of multiples. The composition of the multiples is of paramount importance in this concept and I have incorporated the Golden Ratio to give a fixed proportion to the work regardless of the individual scale of each piece. I use two different clay bodies with very opposing characteristics to communicate my work; black brick for ‘Yin’ and porcelain for ‘Yang’.
"Meets in Flow"
I have recognised that my individual creative language should be original – independent of existing styles or ethnic isolation. My general concept considers 'East meets West, Classic meets Modern' which guides me to pursue my personal goal.
I have been fortunate to realise my ambition through the MA programme in glass. My work has taken two directions in its interpretation. Each pathway will be developed accordingly. The first concept combines glass with digital technologies in architectural space, expressing the connection between traditional and innovative process. The second pathway responds to the emotional potential of the material expressed through sculpture and the essential involvement of the hand of the maker. This exhibition presents the digital enhanced work, named ‘Meets in Flow: Blowing’, and the sculptural glass named ‘Meets in Flow: Floating’. The both works were inspired by flowing people, blowing wind and sparking ocean. The works presented at the Postgraduate Exhibition forms the beginning of my further exploration in glass art.