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Central Saint Martins BA Fine Art 2007

The greatest resource they take with them is the knowledge they have of each other just as their greatest privilege while they have been at Central Saint Martins has been the studio company of their peers.

© Central Saint Martins College of Art and Design 2007

Central Saint Martins College of Art and Design107– 109 Charing Cross Road London WC2www. arts.ac.uk

Central Saint Martins BA Fine Art 2007

Contents

Foreword by Harland Miller 7Introduction from the Course Director 11? Title (Jo Morra’s writing) 13The Artists 15Acknowledgements 139

7

The eminent American essayist, Ralph Waldo Emerson, once described the writing that you encounter in the front of art catalogues as ‘A hard iron stream of absolute poppycock’ though this may not be quite verbatim – I think he said poppycock, though I like to think the actual word was Bollocks, and I remember thinking this was never truer than of the writing that had appeared in the catalogue of works that accompanied our Degree show, when I was a student. It is of course impossible in the space given, to talk about all the students work individually – and to attempt to talk about it collectively was not applicable, as art schools are not in themselves movements – and, over the duration of the course plenty of antipathy and rivalry had developed – enough to make this approach wholly inappropriate.

Its diffi cult to know then what can be said, but writing this, with a hangover, as I am – is (now that I come to think of it) quite redolent of my general condition the morning after I had passed out – that is to say graduated, fi nished or offi cially completed my degree.

It was of course summer then, and in the immediate aftermath of the opening, as the caretakers were throwing people out, (something they were perennially keen on) I remember my fellow students standing around out front of the college in the warm evening air, and looking altogether different to the way they had over the previous three years – not because some of them were dressed differently – though this was interesting in its way, but because what amounted to well over a thousand days of interaction with these people – had, in most cases produced nothing more than restrained hello’s – and now it was good bye – probably in most cases forever.

ForewordHarland Miller

I think he said poppycock, though I like to think the actual word was Bollocks

8 9

The evening previous, I had been involved in a car crash – a very near thing – a truck driver who had stopped to see if he could help and who had witnessed the whole thing had called it ‘a miracle.’

Far from the ‘I’m just glad to be alive’ type feeling I thought this might have left me with, it had for me suddenly redoubled a feeling of the importance of having a means of outward expression – and, at this precise time, for me, the most important area in the whole building and probably the whole world was two fl oors up, behind a window I’d just cleaned to let in light upon my ‘space’ and – My show – that which represented the culmination of three years work, and its potential direction – most of all its potential direction.

It wasn’t at that time standard for there to be a catalogue accompanying student shows and I believe it was the fi rst time there had been one, and that this was considered by some of the older tutors to be premature. Unlike America, the prevailing attitudes towards young artists at this time in England seemed to be that they were almost inconsequential, and though this was happily about to change in a massive way – it was just then extant in the attitudes of most galleries, critics, curators, and collectors, who collectively upheld the patronisingly romantic attitude that you had to suffer for your art. That it was presumptuous and jumped up to want to exhibit or see your work reproduced.

I remember thinking the inverse – that the catalogue was more important than the show. It turned out not to be of course, but perhaps I was already thinking in terms of a lasting documentation of the course, as opposed to a show which might go up and come down without creating much of a stir or ripple because it was unfashionable say, or out of the loop, and for which you may yet subsequently still get a third, or a fail.

most galleries, critics, curators, and collectors collectively upheld the patronisingly romantic attitude that you had to suffer for your art

I felt a reproduction of the work would transcend all of this, not necessarily now but in time, however there was something more as well; I’d grown up in Yorkshire, where I hadn’t really been able to experience art, except though books – and, to this day, I still have a more intimate relationship with art through books which you can pour at home, while propped up in bed for instance, smoking, than standing in front of it in a public gallery, surrounded by people and watched by attendants.

I think this was also because of the then gulf between the fantasy and the reality of success, that which F Scott Fitzgerald writes of as being the time “When the realised past and the hoped for future mingle into one gorgeous moment, when life is literally a dream.”

to this day, I still have a more intimate relationship with art through books than standing in front of it

Foreword Foreword

11

As the very new Course Director I am writing this page as a virtual outsider. As a newcomer, however, I am perhaps more able to appreciate the qualities of Central Saint Martins even better than those to whom they are very familiar. You can get so used to the buzz of never ending activity here that you stop marvelling at the culture it produces. It is a culture which radiates from our workshops and studios and seminar rooms into a world which has learned to turn towards the community we have formed. It is fi rst and foremost a community committed to excellence and long accustomed to the risks and sacrifi ces which that entails. The students exhibiting now have all proved themselves in that community and are ready to undertake the considerable challenges of their own independent practice. The greatest resource they take with them is the knowledge they have of each other just as their greatest privilege while they have been at Central Saint Martins has been the studio company of their peers. Artists are not really the solitary souls of romantic construction. Their ideas and products may be singular but they are developed and defi ned fi rst among other artists in whom they have confi dence. The graduating exhibition is always a vindication of that process and manifests its strength. This catalogue, the result of co-operation and dedication, is its emblem and the emblem of our community.

a community committed to excellence and long accustomed to the risks and sacrifi ces which that entails

IntroductionJane Lee, Course Director

13

ubiquitous enthusiasm, creative thinking, turmoil and collegiality

Title?Jo Morra

As I sit down to write this text, I am drawn to think about, and smile at the knowledge that there is an intensity that is fi lling the halls of our building. 107–109 Charing Cross Road is under reconstruction. There is a buzz in the air. A crackling that is more than the usual creative energy generated by the students on the BA Fine Art, here at Central Saint Martins. It’s that exciting and challenging time of the year, when yet another distinctive degree show is in emergence. With ubiquitous enthusiasm, creative thinking, turmoil and collegiality, the students and staff are daring to do it all once more: to rise to the enormity of the task at hand: putting on a large-scale, multi-faceted degree show curated over seven fl oors and a fi lm viewing theatre, representing 150 students’ work. The show is under way: some works of art are beginning to be made, while others are nearing completion; curatorial decisions are being batted around as resolutions are undertaken for the hanging of the show; the aspirations for this catalogue’s unique character are being realised; and in the midst of this, each third year student has submitted their thesis wherein they have accomplished, once again, so much.

My role on the BA Fine Art is to coordinate the Historical and Theoretical Studies (HATS) programme for the degree. This means that, each year, along with both my HATS and studio colleagues we pull together what we hope to be an inspiring, thought-provoking and relevant programme on what’s at stake in contemporary fi ne art practice today. This is one of the pleasures of teaching on this course: the integration of ‘theory’ and ‘practice’ is central to our understanding of art making and its interpretation. As such, each year, we are moved by our students to reconsider the parameters of this complex inter-relationship through their research, writing, thinking and making. This year is no exception.

15

The Artists

The die has been cast, and once more, the students have succeeded in writing remarkable theses. In these texts, they have interrogated, complicated, explicated, disputed, – at times with breath-taking facility, clarity and ease – what it is that excites and motivates them as practitioners. These students are risk-takers. In their written work, these burgeoning artists ‘use’ and ‘abuse’ theory: they deform, transform, distend, and curtail it: they love it and loathe it in equal measure, perhaps that is why they are so often so provocative. And then, as if this is not enough, they go on to paint, sculpt, perform, draw, photograph and make fi lms that examine, express, and critically interrogate their material and theoretical concerns as visual artists. In these ways, these individuals articulate their practice and the critical awareness that they bring to cultural production. This possibility, this space of negotiating writing and making, words and images, the verbal and visual, is what makes an art school environment the uniquely privileged place it is for its staff and students alike.

Throughout the past three years, this year’s graduating students have challenged each other and us, and made us all wise to other ways of thinking. They have brought with them their new vision and insight into what the future can be, what it can look like, and what we can experience in it. Their enthusiasm for living a creative life rubs off on us all, and we are appreciative. This is the crux of what it means to be in art school: what makes it more than worthwhile, and nearing a necessity. And why there is simply no place like it.

This year, I am certain that our degree show will be another success: and with that I wish the class of ’07 the best in their future endeavours.

this year’s graduating students have challenged each other and us, and made us all wise to other ways of thinking

? title ?

17

Guven Akkir

+44 (0)20 8482 6525+44 (0)7944 947 561

[email protected]

UnititledOil on canvas30 × 24 cm

18 19

UntitledDigital C-type print on aluminium100 × 66 cm

Ben Backhouse

+44 (0)7733 107 [email protected]

Alex Ball


Coral Figure 2Household paint on board

24.5 × 18.5 cm

20 21

Sunara Begum


www.myspace.com/sunarabegum

Ara’s Sojourn, 2007Black and white resin coated print

76.5 × 51.5 cm

Love InterestPerformance at Nolia’s Gallery, Elephant & Castle, 2005

Rolf Baltromejus


22 23

Rohan Blair-Mangat

+44 (0)20 8882 9280+44 (0)7743 524 849

[email protected]

Stills: Yellow Brick Road, You Must Dance To My Beat & Through The Mind’s EyeVideo

Nathan Birchenough

+44 (0)7774 528 922+44 (0)20 8288 4733 [email protected]

Volvo plus amplifi er and Holiday in the Woods with Birds aboveVideoDimensions variable

24 25

Siobhán Bohnacker


One of a series of photographs collectively titled, ‘lore’Duratran print

21 × 29 cm

Untitled (Plates #6)Oil on Board40 × 30 cm

Kyle Bloxham Mundy


26 27

Singular PlatformWelded steel RSJ

Height 30 inches width 36 inches depth 11 inches

Jamie Bowler

+44 (0)20 7377 0031+44 (0)7740 709 014

[email protected]

UntitledWall drawingWool, wire, netting, cotton and moulding pins300 × 270 × 260 cm

Rachel Bowen


28 29

Worry: OCD a(Video Still) Video Installation, three monitors, colour, sound, 5 mins

Claire Marie Briggs

+44 (0)7817 752 102www.ClaireMarie-Briggs.com

[email protected]

Maxfi eld Bozeat

+44 (0)7963 916 596maxfi [email protected]

30 31

Untitled (Operation of the Installation) The Photograph is A4 and the installation is approximately ten cubic feet

Nicholas Brown


www.nicholasbrown.info

Jennifer Brown


Realist LuxuryAcrylic on canvas76.5 × 120 cm

32 33

Marc Brzezicki

[email protected]

Removal. (Part of an ongoing series of work entitled Emergence and Removal)digital photograph

Untitled Oil, pencil on linen

20 × 20

Orlando Campbell


34 35

Katy Chaplin

+44 (0)1322 529 903+44 (0)7849 779 [email protected]

UntitledPhotograph12” × 18”

How much do you want, how much do you need?acrylic paint, cardboard, Perspex, castors, paper, plastic sheet, fl uorescent light,

G clamps, gold leaf, expanding foam, grass, MDF, mirror, moving message sign, paintings, wood, string, plastic tubing, wadding, screenprint, DVD, monitor.

Alan Charlton

+44 (0)20 7380 1170+44 (0)7867 755 818

[email protected]@bbk.ac.uk

36 37

Wei Chen


The News paper & The Sphinx Screen-print84 × 59.4 cm

morphologyoil on board 22 × 22 cm

pen on paper 30 × 21 cm

Coral Churchill

+44 (0)7712 000 479www.coralchurchill.com

[email protected]

38 39

Anna Clark


Sweeping/moppingPerformance: October 2006

‘How to Time Travel’ from the series ‘Utopia, closed at weekends’2007

mdf, pine, glass, gloss paint, poly prop fi ber rope.400 × 490 × 110 cm

Matthew J Clark


40 41

Helen Elizabeth Cocker


Lisa: They gave me a fl ying suitTimothy: . . . as part of the Icarus ProjectPerformance/Installation: Wednesday 7th March 2007Drawings, objects, light, time, parallax viewpoints

11:59Video

Still from a multiple screen projection

Benjamin Cooper

+44 (0)7968 205 698+44 (0)1444 459 889

[email protected]

42 43

Sarah Cooper

+44 (0)7946 704 102sarah@sarahkcooper.comwww.sarahkcooper.comwww.minusprogress.com

Untitled 2007Stainless Steel44 × 19 cm

A Cool Dude in OurlandDog, Littlechef sunglasses, Lap

Reuben Cope

+44 (0)20 7735 2085+44 (0)7891 860 545

[email protected]

44 45

Michael Costello

+44 (0)20 8743 7639+44 (0)7955 604 [email protected]

Yellow PagesVideo Still1 Lloytron Hairdryer, Blue, Brought From Shepherds Bush Market. 1 Moulimex Food Blender, 10 - Year Beige, Stolen From Mothers Kitchen Cupboard. Small Fold Away Stool, Borrowed From Kenny. Stack of Yellow Pages 2005–2006, cut down to 5cm by 5cm on band saw

time machine (mission 0144)

Mark Coutts-Smith

+44 (0)7908 471 636 +44 (0)1462 896 957

[email protected]

46 47

Julia Crabtree


Untitled 2007

Boy sees Girl2006

DV1 minute, 48 seconds

Helenie de Souza Jensen


48 49

Daniela Di Donato

+44 (0) 7815 823 785+39 [email protected]

Chewingun2003medium: Beretta Gun + chewingum. size: real size

UntitledBlack pen on paper

11 × 9 cm

Marina Doritis


50 51

Oliver Dorman

+44 (0)20 7263 1046+44 (0)7757 851 [email protected]

Self PortraitOil on canvas board30 × 40cm

Emelie Ekenborn


More or less beheadedStill from video, (12 min) loop

52 53

Lucy Elder


TOUCH THIS PRESS The Parvenuphotograph/found object

image size 5cm (centered)Canvas size 15 cm

Tom Estes

[email protected]/testes2

54 55

Will Evans


Did you really think it would be easy?Pastel and ink on paper

8.27 × 11.69 inches

Lauren Farnsworth


www.Littlunart.com

56 57

Hayley Farrington

+44 (0)1580 752 251+44 (0)7720 712 [email protected]

Untitledpencil on paper94 × 122 cm

Untitled (Michael Douglas)Still image from video, 4 minutes

Chloe Feinberg

+44 (0)7957 696 289chloefi [email protected]

58 59

Iulia Filipovscaia


UntitledPhotograph

Still from TRACEDVD

30 seconds

Fiona Fouhy

+44 (0)7747 807 993fi [email protected]

60 61

Rie Funakoshi

+44 (0)20 7243 1432+44 (0)7946 217 [email protected]

Untitled landscape (with schoolgirls)Oil/ textured medium on canvas 130 × 90 cm

Emma Gahan

[email protected]/emmagahan

62 63

Jon Garlick

[email protected]/garlickworks

Instances2007DVD projection with sound4 mins 45 secs200 × 266cm

Untitled (Teapot Plug)Broken ceramic teapot Plug White Paint PVA glue

16cm(w) 9.5cm(h) 11.5cm(d)

Lozan Ghafoor


64 65

Nikoo Ghiasvand Ghazvini


PerplexityStill from animation

SkinOil paint on canvas

122 × 91.5 cm

Caroline Gray

+44 (0)20 7602 8688+44 (0)7725 814 173

[email protected]

66 67

Sofi e Grevelius

+44 (0)20 7609 3430+44 (0)7766 790 [email protected]

ParaphernaliaMixed media32 × 23

Damian Griffi ths

+44 (0)7967 568 439d.griffi [email protected]

Self PortraitC Type Prints, Foam Board, Polystyrene, Insulation Foam

H: 45 cm W: 50 cm D: 25 cm

68 69

Gabor Gyory

+44 (0)20 8952 7565+44 (0)7951 230 [email protected]

UntitledOil on panel24.2 × 27.7 cm

Untitled (smiling man)2006

Mixed media Approx 125 × 45 × 30 cm

Felix Handley


70 71

Dan Hards

[email protected]

Untitled (preparatory drawing for an installation)Graphite and coloured pencil on paper210 × 297cm

Mess 1 2007Inkjet print on photo paper

14 × 14 cm

Lily Harris


72 73

Anisa Sarah Hawes


Untitled, February 2006Photographs

No NameMagazine, cassette tape, etc.

Dimensions: 3D

Bi He

0086 731 4835938+44 (0)7841 876 332

[email protected]

74 75

Katie Henry

+44 (0)20 7302 0658+44 (0)7906 166 [email protected]@theescapehatch.co.uk

Hide Your HeadPlaster negative of artists face inset into false wallHead Size – approx’ 15cm × 12cm × 7cm Placed at 5’5” high in the wall

Rowan2007Video

4 minutes

Stephanie Herfeld


76 77

Kate Hickmott


UntitledVideo Still

UntitledPhotogram

Lauren Hitti

[email protected]

www.minusprogress.com

78 79

Charlie Hugall


GodPhotograph

150 × 100 cm

Hass Idriss

+44 (0)20 7379 0911+1347 534 3138

+44 (0)7970 721 313+1917 215 3741

[email protected]

80 81

Polina Ivanova


Untitledmixed media on canvas 50 × 50 cm

What were you doing down by the Watermelons?DVD video projection, looped at 10 mins 54 secs each rotation, with audio.

Dimensions variable

Carolyn Jackson

+44 (0)20 7586 6808+44 (0)7974 759 562

[email protected]://www.minusprogress.com/artists/carolynrjackson

82 83

Nick Jensen


UntitledImage w38 by h40Oil on wood

Gabrielle Jerrard

+44 (0)20 8211 3389+44 (0)7808 472 [email protected]

UntitledOil on Canvas

12ft (365.76 cm) × 6.5ft (200cm)

84 85

Xuedong Jiang

[email protected]

Life Time, 2007Video, 2 minsShot in London, UK

Buoyed By Salt And DNA (…Impelled by history beneath the wide and carefree sky, we fl oat upon the sea)

Digital Print60 × 84 cm

Harriet Jordan-Wrench


86 87

Fort Xwood, metal, wire, rope and attachments done from screws only and not nails

Ground fl oor – height 1.20, width 1.28First fl oor – height 1.05, width 1.28

Christos Kargadouris


Picture one: Victoria’s (teashop lady) gorilla sculpture of me. Adaptation of the Birds (by Aristophanes) Collaboration Performance piece on)– roll out the dustsheet in Central St Martins Southampton Row car park.Thinking about Hokusai – Try to land a blue paper on the ground, with my mum called from overseas” (in Lewisham community park) 4 minutes

Craig Kao


88 89

Miri Kim

+44 (0)7973 630 [email protected]/mirikim

Picking2006 Installation detailDimensions variable

Miriam Kings

[email protected]

Audio Journey from Charing Cross Road to Bloomsbury SquareFossils2006 DVD ProjectionMins., secs. 120 × 150 cma

90 91

Rachel Channa Kremer


Substrates IVOil on board10'' × 7''

Photograph

Julie Marie Kristiansen


92 93

Slade Lamey


UntitledPhoto, light passing through water80 × 50 × 50 cm

UntitledDigital Print84 × 40cm

Undine Lang


94 95

Peter Lee

+44 (0)20 8864 9020+44 (0)7725 640 341

Under the rainOil on canvas40 × 32”

LysistrataDigital Print80 × 67cm

Kynyhia Livaniou


96 97

Anita Lui

+44 (0)20 7226 3874+44 (0)7958 490 [email protected]

Ravel, from the Ripping Red SeriesLive performance in two adjacent window285 × 244 × 115 cm (window 1)285 × 205 × 104 cm (window 2)

Butterfl yVideo

TV monitor

Jean Lyons

+44 (0)20 7229 0941+44 (0)7790 644 340

[email protected]

98 99

Caroline Mackenzie


Untitled, 2006Cardboard, torches, site-specifi c installationHeight of tunnel, 5’

Untitled Photographs as part of series

each image 5 × 3.5 inches

Gabriel Marshall


100 101

Clare McGregor

+44 (0)7742 258 747+44 (0)1702 554 262

[email protected]

topColin’s Birthday

Oil on Canvas73 × 52 cm

Chris May


UntitledOil on Canvas, 240cm × 120cm/94.5ins × 47.25ins

bottomNan’s House

Oil on Canvas63 × 45cm

102 103

La MouetteThree screen video / sound installation

Gabriela Miranda-Rodriguez

+44 (0)20 8748 8505+44 (0)7914 254 [email protected]

James Newton


Image from Cells, installation at the Window Gallery January 2007

104 105

‘Lost: Where has the way that I was going gone?’Inkjet printsite specifi c display – A4 (21 × 30 cm)

Trace Newton-Ingham

+44 (0)20 7652 3562+44 (0)7771 533 [email protected]

Luci Noel


Photograph from series: every day, same window, same time, december 2006

106 107

And so trying to read is a lonely thing, eking out circles and trawling up the dredgethread that breaks on cornersharps and comes loose.artist’s book21 × 130 cm, 60 pages

Tamarin Norwood

+44 (0)1488 669 069+44 (0)7718 731 [email protected] www.kulturfabric.org

Michael O’Mahony

+44 (0)208 886 4152+44 (0)7751 430 991

[email protected]

Untitledpen on paper237 × 84 cm

108 109

From 99, 2007 (detail)Pictured: 9 paintings, mainly oil on board, all 10×12×1''

Christopher Page


Paola Palavidi


Hippocampusoil on canvas

206 × 145 cm

110 111

Stupidity highs and special effects and lucky pulls and romance (the miscellaneous and sophistry)

Savvas Papasavva

+44 (0)7941 885 259www.okya.co,uk/[email protected]

James Phillips

+44 (0)20 8445 2784+44 (0)7854 067 334

[email protected]

Fixed (2007)Digital photo still from fi lm of the same name

112 113

Untitled (closeup)Marker and pencil on tracing paper29.8 × 21cm (A4)

Amandeep Phull


Mark Pinchin

+44 (0)1234 261 048+44 (0)7974 994 498

[email protected]

Project title: Proposing New HistoricismsPhoto, Pencil and Acrylic

15 × 6.65 cm

114 115

Rosa Roberts


GQPastel on paper310 × 210 cm

Self-portrait no. 16

Evgenia Pukhova


116 117

Nick Samuel


Dye Market, MarrakechOil on board40 × 40 cm

Untitled Digital print120 × 85 cm

Alice Q. Rodriguez


118 119

GaryOil on canvas

250 × 160 cm

Alli Sharma

+44 (0)20 8994 2573www.allisharma.com

Selina Scerri


St Mary’s VicarageUpper Street London N1 2TX

Last night.150 × 175 cm

120 121

Untitled (Well Hung!)Mixed Media (Installation)

Dimensions variable

Chris Shilling

+44 (0)20 7727 7095+44 (0)7804 663 792

[email protected]

Alan M Sherwood

+44 (0)7852 253 136ams@minusprogress.comwww.minusprogress.comwww.burntcanvasdesign.com

DropInstallation

122 123

My old boxOil on canvas110 × 90 cm

Constance Slaughter

+44 (0)20 7259 2866+44 (0)7900 691 [email protected]

Kenichi Shimizu

Stage 3 3D

124 125

Arbitrary Standard IAcrylic on canvas

100 × 100 cm

Dale Snowdon


Nicholas Smith


Postulate (Zircon)CAD drawing on paper and UV strip light42 × 59.4 cms

126 127

Girl with Cadaverspraybox and oil on canvas

100 × 120 cm

Margreta Stolen

(N) +4790 129 953+44 (0)7847 681 126

[email protected]

Laura Stocker

+44 (0)20 8529 2024+44 (0)7708 303 [email protected]

Untitled 4Matchsticks on board70 × 70cm

128 129

Tallulah


‘A great fi ghter for liberation.’Digital Photograph35 × 29 cm

Finding HappinessVideo Work

6 minutes 45 seconds

Benjamin Thomas

+44 (0)20 8989 6351+44 (0)7745 510 788

[email protected]

130 131

Magdalena van Straaten


Krista Uppal

[email protected]+44 (0)7920 123 840

SmokedAcrylic and oil on canvas150 × 190 cm

132 133

Isabelle Webster


This is Catalogue numberBiro on machine printed paper This size

The Unseen (2006)Oil on Canvas

80 × 88 cm

Jill West


134 135

Tessa Whitehead


ShadowAcrylic on canvas102 × 76 cm

Punch and Judy puppet show and if you look closely mini Sofi e and Vic hanging in the background!

Victoria Wildor


136 137

Lauren Willis


PromisesSlide projectionProjection size: h 21 × w 33 cm

Dinner Party Piece’

Performance, 4 minutes

Madeleine May Templeton Wilson

+44 (0)1273 555 951+44 (0)7881 785 943

[email protected]

138 139

Sandra Wroe


RehearsalVideo installation

UntitledPhotograph

w 34.11 × h 51 cm

Pei-Chen (Grace) Wu

00886-35-315556+44 (0)7814 228 734

[email protected]

141

Every year a group of students are responsible for organising fundraising and coordinating the production of this catalogue. This year they also selected our designers and invited Harland Miller to make a written contribution to the catalogue. Special thanks are due to Ben Backhouse, Helen Elizabeth Cocker, Dan Hards, Anisa Hawes and Anita Lui.

Special thanks to Andrew Bick who helped the students organise and plan the catalogue.

Alice Anderson and Lynne Stackhouse in the School of Art offi ce provided vital organisational skills.

Thanks to Anne Eggebert, and Gabrielle Lee for their skill and organisation with sponsorship.

Thanks to Harland Miller, Joanne Morra, and Jane Lee for the catalogue texts.

Thanks to our sponsors, Cass Arts, Dover Books and London Graphic Centre.

Thanks to Ruth Sykes, Matthew Bucknall and Christine Joos for their design work at REG.

The degree exhibitions at Central St Martins include the work of 139**139** artists. Thank you to all the staff at Charing Cross Road who have made this huge event possible: building facilities staff for accommodating and assisting our efforts, technical and academic staff for energy and expertise, commitment and guidance.

Congratulations to this year’s graduates. All staff here at Central St Martins wish you the very best in your future work.

Acknowledgements

organising, fundraising, coordinating, selecting, inviting, planning, sponsoring, designing, accomodating, assisting and guiding

Please confi rm number of

artists – thanks

143

Guven Akkir 17

Ben Backhouse 18

Alex Ball 19

Rolf Baltromejus 20

Sunara Begum 21

Nathan Birchenough 22

Rohan Blair-Mangat 23

Kyle Bloxham Mundy 24

Siobhán Bohnacker 25

Rachel Bowen 26

Jamie Bowler 27

Maxfi eld Bozeat 28

Claire Marie Briggs 29

Jennifer Brown 30

Nicholas Brown 31

Marc Brzezicki 32

Orlando Campbell 33

Katy Chaplin 34

Alan Charlton 35

Wei Chen 36

Coral Churchill 37

Anna Clark 38

Matthew J Clark 39

Helen Elizabeth Cocker 40

Benjamin Cooper 41

Sarah Cooper 42

Reuben Cope 43

Michael Costello 44

Mark Coutts-Smith 45

Julia Crabtree 46

Helenie de Souza Jensen 47

Daniela Di Donato 48

Marina Doritis 49

Oliver Dorman 50

Emelie Ekenborn 51

Lucy Elder 52

Tom Estes 53

Will Evans 54

Lauren Farnsworth 55

Hayley Farrington 56

Chloe Feinberg 57

Iulia Filipovscaia 58

Fiona Fouhy 59

Rie Funakoshi 60

Emma Gahan 61

Jon Garlick 62

Lozan Ghafoor 63

Nikoo Ghiasvand Ghazvini 64

Caroline Gray 65

Sofi e Grevelius 66

Damian Griffi ths 67

Gabor Gyory 68

Felix Handley 69

Dan Hards 70

Lily Harris 71

Anisa Sarah Hawes 72

Bi He 73

Katie Henry 74

Stephanie Herfeld 75

Kate Hickmott 76

Lauren Hitti 77

Charlie Hugall 78

Hass Idriss 79

Polina Ivanova 80

Carolyn Jackson 81

Nick Jensen 82

Index of Artists

“My favourite shop in all the world” – Eduardo Paolozzi

20% student discount

144

Gabrielle Jerrard 83

Xuedong Jiang 84

Harriet Jordan-Wrench 85

Craig Kao 86

Christos Kargadouris 87

Miri Kim 88

Miriam Kings Rachel 89

Channa Kremer 90

Julie Marie Kristiansen 91

Slade Lamey 92

Undine Lang 93

Peter Lee 94

Kynthia Livaniou 95

Anita Lui 96

Jean Lyons 97

Caroline Mackenzie 98

Gabriel Marshall 99

Chris May 100

Clare McGregor 101

Gabriela Miranda-Rodriguez102

James Newton 103

Trace Newton-Ingham 104

Luci Noel 105

Tamarin Norwood 106

Michael O’Mahony 107

Christopher Page 108

Paola Palavidi 109

Savvas Papasavva 110

James Phillips 111

Amandeep Phull 112

Mark Pinchin 113

Evgenia Pukhova 114

Rosa Roberts 115

Alice Q. Rodriguez 116

Nick Samuel 117

Selina Scerri 118

Alli Sharma 119

Alan M Sherwood 120

Chris Shilling 121

Kenichi Shimizu 122

Constance Slaughter 123

Nicholas Smith 124

Dale Snowdon 125

Laura Stocker 126

Margreta Stolen 127

Tallulah 128

Benjamin Thomas 129

Krista Uppal 130

Magdalena van Straaten 131

Isabelle Webster 132

Jill West 133

Tessa Whitehead 134

Victoria Wildor 135

Lauren Willis 136

Madeleine May Templeton Wilson 137

Sandra Wroe 138

Pei-Chen (Grace) Wu 139

Index of Artists

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Documents

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