Slade Interim Show 2022 • Slade School of Fine Art

MA/MFA Interim Show
Open to the public 6 - 11 October
Weekdays: 9:30am - 8:30pm
Weekend: 9:30am - 6:30pm

I'll be seeing you
, Sophie Rogers, May 2022, mixed (laser cut perspex, computer pins, PC cooling fans, metal bolts, LED pin badges)

©the artist

Sophie Rogers
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Claudia 2
, Marietta Mavrokordatou, 2022, gelatin silver print, 28 x 17.5 cm

©the artist

Marietta Mavrokordatou
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Lion, Lies and Love
, Yuyue He, 2022, documentary film, 1080p, 33mins long

The film starts from a question: “Would you still love me, if I have nothing left?”. It explores love and expectations, fear and understanding from the perspective of social and intimate relationships. This documentary film would like to discuss confusion and anxiety, especially for young people. In the end, the film is looking for the answers about love: If "having nothing left" and "love" can coexist? Or if one has nothing left, is it still possible to continue the love?

©the artist

Yuyue He
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Sounding House
, Isabelle Pead , 2022, steel greenhouse, speakers, sound, mixer

©the artist

Isabelle Pead
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1 ۵ 1
, Sana Iqbal, 2019-2021, 8.5 ft x 5.3 ft (each photograph is 5-inch x 5-inch)

We identify ourselves by the choices we make, by the things we choose to keep in our possession and those we discard. Objects because of their tangibility, echo of a user’s persona and reflect the spaces they could or must have once inhabited. They reveal an alternate reality. By creating an archive of found objects from abandoned sites, Sana investigates how socio-political factors play into this identity of a person and that of a nation’s. Furthermore, the contribution of this identity in the concept of ‘other’ which ultimately paves way for creation of boundaries (whether they be imaginary or real).

©the artist

Sana Iqbal
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Traces to Cavity
, Harry Smithson, 2022, wax, cardboard, mahogany, speakers, cables, synthesiser, 4000 x 1500 x 1000 mm

©the artist

Harry Smithson
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Here Trees Are 45ft Apart
, Junyi Lu, 2022, oil, acrylic, pastel, spray paint, marker, thread, aluminum wires, found objects on canvas; tree models, plastic wine glasses, plasticine, and chains on pub tablessize: 140 x 170 x 70 cm

©the artist

Junyi Lu
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Subject to Change
, Jesse Rivers, 2022, acrylic and ink on canvas, 71 cm x 56 cm

©the artist

Jesse Rivers
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Undesirable Marks of Time: Breakfast Bowl
, Kate Towsey, 2022, soluble mixed media, motion-sensor water drip, 14 x spoons of porridge

Exploring the fragility of memory, domestic objects disfigure in response to their audience.

©the artist

Kate Towsey
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Sympathetic Magic
, Philip Speakman, 2022, HD video and text, 07:04 minutes (looped)

©the artist

Philip Speakman
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Installation view of 'Articulations' showing 'Compassionate Attention' at The National Festival of Making, Blackburn, UK
, Hannah Leighton-Boyce, 2022, plaster, video, ceramic, greaseproof paper, polystyrene, intaglio print, dimensions variable

©the artist

Hannah Leighton-Boyce
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“who are they now?”
, Chaney Manshu Diao, 20 Sept 2022, mixed media, text, installation, 35cm (W) x 120cm (L) x 180 cm (H)

©the artist

Chaney Manshu Diao
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◻︎4DC4
, Yiwen Li, September 2022, acrylic paint on canvas, 61 x 51 cm, 20.3 x 25.4 cm, 30.5 x 82 cm

©the artist

Yiwen Li
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Playpen Paralysis
, Rosie Kennedy and Robbie Campbell, 2022, still image from 5:00 min video

©the artist

Rosie Kennedy
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The Shadow of a Doubt
, Kristian Alanson Bruce, 2022, oil on linen, 34 x 26 in

©the artist

Kristian Alanson Bruce
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Landscape
, Yu Li, September 2022, installation, 6 x 82 x 10 cm

In the paradigmatic genre of Chinese education, the expression of thoughts and imagination of distant landscapes.

©the artist

Yu Li
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ANSWER
, Jiayu Sun, 15 September, 2022, video, performance, 7minutes, 40 seconds. 20 seconds of performance after video

As the phantom limb pain occurred to him every single day, Jiayu decided to embark on a search for the lost part of his body. His journey goes through an imaginary world, reality and cyberspace, whereby he is exploring memories, everyday life, and information remaining on the internet. Finally, Jiayu finds the other part of his body and returns back to the physical world.

©the artist

Jiayu Sun
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How To Fit In
, Eva Bachmann, 2022, (installation) digital photography, household objects, 2.5 m x 3 m

How to Fit In installation refers to resourceful ways when trying to adapt as an outsider.

©the artist

Eva Bachmann
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Dad Magnets
, Ty Locke, 2022, fridge freezer, paper, magnets,

A fridge freezer covered in 734 fridge magnets of my dad holding me as a baby.

©the artist

Ty Locke
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thinking about art when the world is burning
, blithe germ, 2022, plant matter, rocks, paper, screen print on rag, and recovered waste materials

©the artist

blithe germ
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Untitled
, Claudia Rose, 2022, various made and found objects. Site specific, dimensions variable

A warm hum from somewhere to be far away

©the artist

Claudia Rose
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Odradek 04 (Wearable translation device)
, Federico Arani, 2022, ceramics, prosthetic gelatin, medieval metal artifacts, fabric, brass, rubber.

A part of a harness with unclear function and composition, halfway between prosthesis and extension, is left inside the space. A device clearly disconnected from its original time and location, is filled only with its hypothetical potential.

©the artist

Federico Arani
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Dinosaur Colour Chart 1993
, Chika Annen, March 2022, print

The chart shows sampling colours of dinosaurs from magazines, “Dinosaur!”, published in 1993.
The visual representation of dinosaurs and their association with cultural/social demands surrounding science have changed over time. Dinosaurs are very particular beings; The evidence of their existence is mere remains and have never been seen as living creatures during human history. Due to their monstrous nature, we are familiarised with their unimaginable appearances, but our impression of these dinosaurs demonstrates the contemporary romanticisation of mythical creatures.

©the artist

Chika Annen
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Shelf
, Jamie Hammill, Shelf, 2022, hardwood, sisal twine, plywood chair part, wool textile, stainless steel, cinnamon, 100 x 50 x 25 cm

©the artist

Jamie Hammill
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untitled (fleeting though)
, Gabrielle Bejani, 2022, collage on napkin, 30.5 x 32 cm

©the artist

Gabrielle Bejani
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Woman with child
, Antonia Caicedo Holguin, 2022, oil on canvas, 82 x 81 cm

©the artist

Antonia Caicedo Holguin
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Untitled

Indianna Solnick

Door Ajar

Frederika Dalwood

Marey's Chronograms

Anna Sebastian

I'll be seeing you

Sophie Rogers

Pores

Corrine Chan

Claudia 2

Marietta Mavrokordatou

Lion, Lies and Love

Yuyue He

Futures Trading

Martha Horn

Sounding House

Isabelle Pead

Holding behind the curtain

Georgia Dymock

1 ۵ 1

Sana Iqbal

Father Flying

Akshay Bhoan

Traces to Cavity

Harry Smithson

Here Trees Are 45ft Apart

Junyi Lu

No one conjures our dust

Sofia Bordin

Subject to Change

Jesse Rivers

Primal

Cheuk Yiu Lo

Obnexious

John Sant

Undesirable Marks of Time: Breakfast Bowl

Kate Towsey

The Red Queue

Ivan Kashdan

Skin Flicks

Billy Sassi

Prometheus

Jiayu Zhang

Sympathetic Magic

Philip Speakman

Untitled

Ilona Balaga

Shadow of ABC

Yuuki Horiuchi

Installation view of 'Articulations' showing 'Compassionate Attention' at The National Festival of Making, Blackburn, UK

Hannah Leighton-Boyce

Appendage

Sam Meredith

Untitled

Sam Ge

“who are they now?”

Chaney Manshu Diao

◻︎4DC4

Yiwen Li

Paper Icon

C PANNELL

Playpen Paralysis

Rosie Kennedy

The Shadow of a Doubt

Kristian Alanson Bruce

EGO DEATH

Christina Cushing

Untitled

George Richardson

Landscape

Yu Li

ANSWER

Jiayu Sun

How To Fit In

Eva Bachmann

Substitution Jutsu

Luyin Cao

Dad Magnets

Ty Locke