Wendi’s work reflects on the relationship between space and memories, and the unnoticed everyday moments of the beauty of lights and shadows. When confusion comes, when vision is hazy, when flash passes, when memory is vanishing, when dream shines, when shadow dies.
Valpuri’s screen-prints showcase portraits of famous botanists with their findings. She is inspired by narratives, characters and historical figures, as well as horticulture, and myths.
Black River explores the combination of physical medium -six hanging scrolls- and virtual media – a video of a moving black river that stitches the paintings (projected as well) together. It is a visual expression of the artists’ 3-month long journey through Japan in the footsteps of 17th century haiku poet Basho, reflecting an unchanged search for stillness.
Syreen’s practice attempts to express the meaning of “All is fair in love& war” through a combination of graphics and the complex and exotic letters of the Arabic alphabet.
Rearranged syntactically, Hair I Am becomes "I Am Hair", a declaration of being defined by society based on the semiotics of appearance. Homonymously, Hair I Am becomes "Here I Am", a declaration of the artist being present in her hair.
Ottelien’s painting is a scene of comfortable, unfazed nudity between two.
Louise’s “Bird in the Hand’ showcases the curious nature of idioms across various languages and cultures through the medium of black and white film photography.
In their debut collaborative piece, Sophie and Lia aim at extending an existing space, through the use of paint and objects, creating an imaginary world for the viewer where their imagination and input is as important as the work itself.
Holly’s interests centre on natural forms, movement and sensory experience. Her work is a culmination of these interests, often exploring all of them at once, through fantastical installations.
The fashion for bringing the outside inside has been common for centuries, in the form of pot plants that can be a common fern or an exotic aloe plant. Through photography, Gemma is interested in reflecting why people take these collections to an extreme; why they turn their domestic space into an indoor jungle.
The strange and the unexplainable attract human curiosity. Inspired by cabinets of curiosities, Anna’s paintings study the weird and wonderful in the creations of nature and people, boundaries and things out of place.
Alexandra is interested in the application of paint and the process involved in changing and developing the surface of a painting, through intuitive experimentation with materials and techniques.
Inspired by everything – advertising, conversations, music - Alex’s work is all about critiquing painting and what role the subject plays. He uses text, collage, layers and everyday materials to try answer the simple question ‘what is a painting?’.
Michael’s practice combines minimalist sculptural forms with video and contains an element of performance. By stripping away the unnecessary he forces us to focus on our own reality with a sense of wit and irony.
Ellie Walker, Holly Maltby and Alice Lowne founded ‘rootmap’, a map of Edinburgh’s sustainable and local food scene. They celebrate Edinburgh’s local food community using creativity and the arts, whilst encouraging others to also discover the joys of local food.
Connie’s work is where is where fashion, design and lifestyle all collide. Where east meets west.
Softbox Collective comprises of several 4th year photography students from Edinburgh College of Art. The work varies in conceptual and stylistic approaches, all of which come together to offer an insight into the diverse world of contemporary photography.
Through painting and installation, Keiran has a fascination with anatomy and in thinking about surface and themes of decay.
Knowledge is power': Heather’s piece is a live code installation discussing the meeting places between magic and technology and the dissemination of knowledge (and power).
Klaus uses art prints to animate an audience by getting the viewer to try out dance steps. Klaus’ work is a culmination of paper, music and dance, where the viewer can take prints away or fit various pieces together in new arrangements.
Tiki’s work is a video based installation that, through the ritual processes of hair removal, explores the gap between the personal and the general cultural conscious, and the control of image and self.
The desert offers nothing. Thane’s animation “The Desert Runner” takes on the idea that ‘the desert has nothing to offer and no man needs nothing’.
Elizabeth’s diptych “Reverie” is a tentative, curious and naive investigation into the uncertain state and nothingness of the mind as we dream. Wispy, translucent ghost-like forms float and drift into dark space, creating an ethereal atmosphere which becomes her personal visualisation of the form of dreams in suspended consciousness.
Elsa uses photography as a way of documenting events in the past. A footstep, graffiti that has been painted over or simply litter on the ground are all evidence of something that has been but is now long gone. Her work is a series of photos about the interaction of the past and the present.
Museums sculpt our understanding of the culture to which we belong. Fionnuala interacts with this to introduce a more complex narrative; translating the aesthetic through assertively handmade objects.
In her paintings, Megan is inspired by public spaces and how lines on the floor give the visitor subliminal instruction.
Alice focuses on the idea of sacred geometry, using line and colour within a print format. She is inspired by the way abstract geometry can be used to portray spiritual and philosophical ideas.
Glue collective, an international photography collective, is made up of a group of female photographers and recent Edinburgh College of Art graduates trying to make an impact on the world through photography.
Erin’s work with instant film increasingly considers how photography can be tangible and ambiguous whilst compelling her audience to feel nostalgic. “Neverland” is an observation of the millennial generation; those born between 1982 and 2002, and their changing habits and expectations. By disassembling her own life through the lens, Erin looks to examine a generation at odds with the conventions of ageing set by their predecessors.
Mairead combines social documentary and fine-art photography, with a key interest in the human condition and community engagement. The portraits of “Be, Still” examine the potential resting in a child. The contemplative and expressive features mark the endless possibilities and the journey to adulthood that children face.
Michelle’s sculptural installations explore the need to connect our emotional selves to feel congruent in the physical world - divisions in the psyche cause pain. Her practice regards art as a healing force to bridge this separation.
Technology seems to rule our world. The next generation are more absorbed and distracted by it than ever. In her painting, Genevieve highlights children’s constant and consuming interaction with technology with hopes that her figures do not represent future social conduct.