Archive for the ‘Staff’ category

New images of UAL’s London College of Communication proposal revealed at public exhibition

Architects' CGIs have been revealed of how the new LCC campus at Elephant & Castle could look

Architects’ CGIs have been revealed of how the new LCC site at Elephant & Castle could look (click the image to enlarge)

New images and detailed proposals for the Elephant & Castle redevelopment, which have been shaped by the community following last year’s consultation, will be exhibited this week.

The plans, which include an integrated site for UAL’s London College of Communication (LCC) at its centre, will be on display from Thursday 26 – Saturday 28 May 2016, in the Elephant and Castle Shopping Centre, Upper mall. The proposals also include a 1,000 seat multi-screen cinema and a previously unannounced grass-roots music venue for an audience of 500.

The new site for LCC, at the centre of the masterplan, would aim to build capacity around the digital technology industries, including design and gaming, and allow the expansion of TV and film into new creative hub for the area.

Nigel Carrington, Vice-Chancellor of UAL, commented: “As a world Top Five creative university and the leading supplier of talent to the UK’s creative industries, UAL has been at the heart of Elephant & Castle for over 50 years. We are committed to these exciting proposals, which will make the area South London’s most important business district for the next 50 years.”

The proposed masterplan by architecture and urban planning practice Allies and Morrison, aims to deliver a ’must-visit’ town centre destination, with an impressive combination of national and independent London based shops, bars, cafes and restaurants, interspersed between 10,000 sq m of accessible public space and benefitting from improved access, with wider walkways and a new entrance and ticket-hall for the Northern Line.

The proposed LCC site builds upon a number of high-profile estates investments undertaken by UAL including a £62m regeneration of Camberwell College of Arts, the relocation of London College of Fashion to the Olympic Park at Stratford by 2021 and the completion of its Central Saint Martins campus in King’s Cross in 2011.

Initial proposals and sketches for the scheme by developer Delancey’s client fund DV4, and Europe’s largest pension fund asset manager APG, were first put on public display in July 2015 with local residents, business and stakeholders invited to comment. Over three quarters of respondents supported the proposals and all feedback has been considered in the shaping of these emerging plans which will be on display. The exhibition will show the new CGI designs, giving another opportunity and open invitation to the community and wider public to give feedback on the plans as they develop.

If approved, the plans could bring a new cultural and commercial focal point to the heart of Elephant & Castle. The Elephant & Castle town centre redevelopment is the lynchpin to the wider £3 billion regeneration underway in the area and integral to Southwark’s wider regeneration plan, which includes the creation of a new pedestrianised town centre, brand new park, 5,000 new and replacement homes, approximately 450,000 sq ft of retail and leisure space, and an integrated public transport hub.

Elephant and Castle Town Centre development public exhibition
Venue: Elephant and Castle Shopping Centre, Upper mall within the corner shop located next to the National Railway station entrance
Dates: Thursday 26 May 2pm-8pm, Friday 27 May 9am-5pm, Saturday 28 May 10am-4pm

For those unable to attend the public exhibition, feedback can be given online at:

New ‘Lifeboat in a Box’ design for Japan’s tsunami survivors

Design lecturer from Chelsea College of Arts, University of Arts London (UAL) and RNLI lifeboat volunteer, Robin Jenkins, has used his design expertise to create a ‘Lifeboat in a Box’ to help save tsunami survivors washed out at sea and empower the affected communities.

Lifeboat in a Box designs by Victor Polyakov & image of Robin Jenkins.

Lifeboat in a Box designs by Victor Polyakov & image of Robin Jenkins.

Taking the form of a shipping container, ‘Lifeboat in a Box’ is an unlikely but ingenious solution to a global problem, providing much-needed facilities for communities to rescue tsunami survivors. It will contain a workshop for the bespoke lifeboat – a Rigid-Hull Inflatable Boat (RIB) designed and built by students at UWC Atlantic College in Wales – as well as a changing room for crew.

‘Lifeboat in a Box’ will be on public display at Chelsea College of Arts, UAL from 25-30 May 2016 while Interior and Spatial Design students, mentored by Jenkins, install the interior before it leaves for Kamaishi in the tsunami-affected region of Japan, as part of the Atlantic Pacific International Rescue Boat Project. This offers students and the wider public a unique opportunity to see what is needed in a lifeboat station first-hand and the possibilities for social transformation through art and design.

The origin of the design:

The ‘Lifeboat in a Box’ is the result of an ongoing project that began in Japan’s tsunami-affected region on the North Eastern Coast. In 2014, Jenkins was invited by Future Lab Tohoku to visit the city of Kamaishi, the first hit location by the Great Eastern Earthquake and Tsunami of March 11, 2011.

Speaking about the trip, Robin Jenkins, Senior Lecturer in Interior Spatial Design, at UAL’s Chelsea College of Arts, explained:

Image of Robin Jenkins

Image of Robin Jenkins

“During this stay I heard a story that left a lasting impression. On the evening after the tsunami had passed, the survivors went to look to find others. What they witnessed is beyond most people’s comprehension. During the search, they could hear the sounds of those who had been washed out to sea, screaming and crying from amongst the freezing cold debris. Knowing there was nothing they could do for them, the rescuers remained on the beach listening to the cry fade as they perished.”

Listening to these stories, Jenkins, who is also a volunteer with the RNLI on the River Thames, considered that if Japan had had such a service as the RNLI, hundreds of lives could have been saved that night:

“This story unsettled me so much that I began to wonder how to stop it from ever happening again. Unfortunately there is no magic solution. However, taking my spatial design knowledge and experience as a RNLI lifeboat volunteer and time at the United World College of the Atlantic, I could imagine one way of helping.”

Following its display and construction at UAL’s Chelsea College of Arts, the ‘Lifeboat in a Box’ will be collected and prepared for delivery to Kamaishi, Japan, in August 2016. Jenkins and Atlantic Pacific International Rescue Boat Project will then oversee the training of local Kamaishi residents on how to operate the Lifeboat in a Box.

Lifeboat in a Box arriving at UAL Chelsea

Lifeboat in a Box arriving at UAL Chelsea

Working with Atlantic Pacific International Rescue Boat Project (APIRBP) and UWC Atlantic College, this will be the first prototype produced with a view to establishing funds to take the project beyond Japan. Jenkins added: “This is a project that we hope to grow around the world, delivering containers and training to areas that are most vulnerable to disaster, so that when the unbearable strikes, there is something to help.”

Lifeboat in a Box will be designed and constructed while on display 25–30 May 2016 at

Roostein Hopkins Parade Ground, UAL: Chelsea College of Arts

Steptoe and Son explored through fine art: new exhibition at UAL CSM

University of Arts London PhD Fine Art graduate, Dean Kelland, explores masculinity in post-war British sitcom in a new free public exhibition at UAL Central Saint Martins this week. Flawed Masculinities: “Rupturing” 1950s/60s/70s British TV Sitcom is on display in The Crossing, UAL Central Saint Martins Granary Square from 24-29 May 2016.

The Englishman’s Panacea (Performance Film Still) – Dean Kelland

Much like Grayson Perry, UAL’s Chancellor, in his recent show All Man, Dean Kelland, UAL graduate and Birmingham based artist, explores concepts of masculine identity. In this latest exhibition, his sketchbooks show how he explores failure as a central quality of male cultural icons from post-war British sitcoms using multi-media in his artwork. His work The Englishman’s Panacea which features himself in character as Harold Steptoe from the comedy classic sitcom Steptoe and Son will be screened as part of the exhibition.

Dean Kelland commented: “Steptoe was one the many male figures that were part of a cyclical pattern of failure, where the root of the comedy came from. I wanted to explore this notion and what it means for masculinity.”

In this work, Kelland stands before a mirror in what is seemingly his morning ritual. Referencing Samuel Beckett’s plays Waiting for Godot and Film, the action is repeated with each new manifestation taking us further into the identity of Steptoe whilst simultaneously investigating the mechanics of performance and portraits of masculinity.

The Englishman’s Panacea (Performance Film Still) by Dean Kelland. Image courtesy of the artist.

Born in Great Barr in Birmingham in the 1970’s, Dean Kelland reflects on his experiences growing up in the midst of changing social mobility, politics and identity which inform his artwork:

“Television was always there for me when I was growing up.  I now see these shows like a mirror that reflected the cultural shifts exquisitely back to its audiences. Sitcoms and comedians may be overlooked academically, although that is changing, but for me they say it better than anyone did and I wanted to highlight that through my artwork.”

From Birmingham to London via Fine Art and Comedy – An interview with Dean Kelland:


Sitcoms aren’t often the subject of Fine Art – what influenced you to explore sitcoms?

I get quite defensive about comedy and in particular sitcom because it is often regarded as a lesser or perhaps more superficial area of popular culture. The writer Andy Medhurst once said that if you want to know what is hurting society at any given point in history then look at what people are laughing at – that sums it up for me – sitcoms are as good as any other art form when it comes to measuring temperature of the times.

When did you’re interest in Sitcoms begin? 

My interest in situation comedy started in my childhood when at the age of six I was given an old black and white portable television by my older sister. Sunday afternoons on BBC2 were a rich source of ‘repeat’ episodes of sitcoms featuring the programmes selected for this research project as well as The Fall and Rise of Reginald Perrin, Butterflies, Rising Damp, Open All Hours, and Porridge. The world that opened up to me through that small screen provided something that at an early age I couldn’t fully identify or articulate.

How did this develop over your career?

Fast-forwarding to adult life, my journey through arts education saw me trained in Fine Art before moving on to specialise in photography. I showed work at a range of national venues before developing a career as a lecturer in art and design, and I’ve enjoyed developing the skills I would later use for this PhD. My broad experiences took in everything from sculpture, painting and graphic design to interior design, textiles and fashion. I returned once more to Fine Art to study for my Masters degree, and utilised these multiple disciplines to develop a cross-disciplinary practice approach to conceptual representations of – of all things – the British landscape.

Upon completion of my MA I decided to throw this approach away…I asked myself why, as someone who had grown up in a working class suburb of Birmingham, I was spending time interrogating rural spaces and the conceptual minutiae of British landscape traditions. Why had I spent so long developing a practice that was on the fringes of my own personal experiences and a subject area that was alien to my own sense of identity? This crisis sowed the seeds of my PhD project: Write what you know, that oft-quoted adage was the starting point; and what I knew was the British sitcom.

This exhibition highlights masculine gender stereotypes in post-war British Sitcoms – what motivated you to focus on this area?

I was able to combine my knowledge of sitcoms with methodologies associated to writing and performing but crucially the question that developed related to why I felt drawn to these figures – soon the idea that these characters were trapped in a cycle of failure developed and what that meant in terms of how British masculinity was laid bare in these comedies started to inform the work. I started to see comedy like a skin with a familiar surface (humour) and a more challenging bloody, visceral underside, (the cycle of failure) I like the idea that the performance films I make attempt to reveal both sides simultaneously.

I was lucky enough to spend time talking to Susannah Corbett (Harry H. Corbett’s daughter) about Steptoe and Son and her father’s working methods. Remarkably I was then offered the opportunity to spend a day with Galton and Simpson talking about their work and my work – the practice definitely went up a level at that point. I was able to combine my knowledge of sitcoms with methodologies associated to writing and performing but crucially the question that developed related to why I felt drawn to these figures – soon the idea that these characters were trapped in a cycle of failure developed and what that meant in terms of how British masculinity was laid bare in these comedies started to inform the work. I started to see comedy like a skin with a familiar surface (humour) and a more challenging bloody, visceral underside, (the cycle of failure) I like the idea that the performance films I make attempt to reveal both sides simultaneously.

Why did you choose UAL Central Saint Martins to do your PhD research?

Central St Martins has provided me with the most incredible experience. The working environment is vibrant and exciting and the level of support from the amazing staff and fellow PhD students settled me in and gave me the confidence to take risks with my work and really drive ideas on. I couldn’t have asked for a more supportive team and I count myself very lucky to have found them and to have had this experience at Central St Martins. The pride I have in being able to say that I have studied at CSM is immeasurable but most importantly my practice is stronger and my ideas are sharper as a result of studying here.

When I applied to study here I genuinely didn’t expect to be offered a place to study my PhD, in truth I was excited to be given an interview because I thought it would be great to have a walk around and see what the inside of St Martins was like! I grew up in a part of Birmingham where art was not really considered as a serious option for a career, I persevered and studied at a regional college and university but the thought of Central St Martins was always so far away from where I was and who I was – it definitely felt like it was something that happened to other people. When I got here I was welcomed so positively and my work respected and taken seriously and that helped me shed that baggage.

What advice would you give to budding art students and anyone thinking of doing a PhD?

I can only talk from my own experiences and I worked harder than I’ve ever worked before and I tried to be the best I could be. I trusted my supervisors and they repaid that trust with a commitment to support my practice and guide my progress. PhDs test you in ways that you may not have expected and there are times when you will question whether you can keep going – be the best you can be and keep on keepin’ on!


Pulse selects trend-setting products from UAL’s rising stars of design

UAL Now chosen by Pulse for exclusive display of the best new work by emerging designers


Akiko Ban Mystic Forms UAL Now at Pulse 2016


Described by Pulse as “undiscovered design talent that will give you the must-have products of the future from the industry’s freshest emerging design talent, handpicked for their innovative and cutting-edge products” UAL returns for the 10th year to the Pulse tradeshow in May with UAL Now. The hot new designs on display have already featured in Metro this month.

Eloise Bricka at UAL Now at Pulse 2016

Heralded as “trend-setting products from the rising stars of design” Pulse notes that “University of Arts London has a firm reputation of introducing the greats to the world of fashion and design. The featured stand will be presented in Launchpad, the creative hub of fresh design businesses. The showcase presents 14 handpicked new brands chosen for their innovative and cutting-edge and commercially-ready products.

Eduardo Hirschfield my first quilt kit at UAL Now at Pulse 2016

The stand features a diverse range of products including award-winning woven cushions and hand-made ceramics, innovative furniture, and on trend greetings cards.

Flor de Chile at UAL Now at Pulse 2016

The chosen design business for 2015 are: Beatrice Larkin, Beyond Fabrics, Cox & Bruach, dotdotdot, Elose Bricka, Fawn and Thistle, Flor de Chile, Josefin Landalv, Miriam Bridson, Mystic Forms, Rowenna Mason, Sevek Zagarian, Sophia Ogonda, Temple London. The chosen graduates are:

Akiko Ban, BA (Hons) Drawing, 2006, Camberwell College of Art

Leonid Davydov, BA (Hons) Product Design, 2017, Central Saint Martins

Josefin Landalv, BA (Hons) Textile Design, 2011 Chelsea College of Arts

Eduardo Hirschfeld, BA (Hons) Graphic Design, 2002, Camberwell College of Art

Miriam Bridson, BA (Hons) Surface Design, 2015, London College of Communication

Isabel Infante Krebs, MA Textiles, 2016, Chelsea College of Arts

Beatrice Larkin, BA (Hons) Textile Design, 2010, Chelsea College of Arts

Eloise Bricka, BA (Hons) Textile Design, 2014, Central Saint Martins

Kirsten McNee, MA Illustration, 2014, Camberwell College of Art

Rowenna Mason, MA Textile Design, 2015, Chelsea College of Arts

Caroline Cox, BA (Hons) Textile Design, 2013, Chelsea College of Arts

Louise Graham, FdA Cordwainers Accessories, 2012 London College of Fashion

Sophia Ogonda, BA (Hons) Ceramic Design, 2015, Central Saint Martins

Sevak Zargarian, BA (Hons) Ceramic Design, 2013, Central Saint Martins

dotdotdot.frames on UAL Now's stand at Pulse 2016

The UAL Now designers are part of UAL’s prestigious network of alumni, fellow graduates of their alma mater include Terence Conran, James Dyson, Margaret Calvert, Neville Brody, Susan Williams-Ellis, Harriet Vine and Rosie Wolfenden, Tom Karen, Georgina Von Etzdorf and Wright and Teague. As well as past UAL Pulse exhibitors that have gone on to have successful businesses in the design sector including: Cléo Ferin Mercury, Emma Calvert, Jim Rokos, RALLI Design, Studio Lav, Crispin Finn, Stumped Studio,Charlotte Day, Kangan Arora, Maya Magal, Louise Tucker, Robbie Porter, MercerMercer, and Purpose & Worth.

Sophia Ogonda at UAL Now at Pulse 2016

Led by Careers and Employability at UAL and supported by Clarion events, the UAL Now stand is a unique opportunity for emerging design businesses from UAL to have a discounted and supported way into trade show environments. Exhibitors are offered a full professional development programme in the lead up to the show to prepare them for the experience, as well as PR and marketing support through the university.

Josefin Landalv Broken Point at UAL Now at Pulse 2016

UAL Now is a showcasing and exhibition programme that highlights the most exciting emerging talent from University of the Arts London, and has presented exhibitions at shows such as Design Junction and Art15.

Cox and Bruach Pobble at UAL Now at Pulse 2016

“UAL Now is a great opportunity for those just launching their businesses to find an affordable way to reach trade audiences and get their work in the shops, and Launchpad at Pulse is the perfect place for this. We make sure exhibitors are ready to make sales, and past exhibitors have made thousands of pounds worth of orders, and many have gone on to take their own stand at the show after.” Vicky Fabbri, Events & Showcasing Manager, Careers and Employability.

Temple London at UAL Now at Pulse 2016

UAL Now showcases graduates’ work at fairs and industry exhibitions across art, design and communication; in order to launch their work, products, ideas, services and companies. It enables and prepares them to connect to curators, buyers, collectors, manufacturers, agencies and specialist audiences, so that they can sell work, network and advance their practice and careers in the creative and cultural sector.

Rowenna Mason at UAL Now at Pulse 2016

Pulse runs 15 – 17 May 2016 at Olympia, Hammersmith Road, Kensington, London W14 8UX

Visitors to Pulse 2016 will get an exclusive preview of the next generation of emerging design talent at University of the Arts London (UAL)’s UAL Now stand.

Read about the UAL Now stand at Pulse 2016 in the property section of Metro

Discover more about UAL Now at


‘The Other Story’ Online: Digital Exhibition Histories

'The Other Story' Online: Digital Exhibition Histories

Image: ‘The Other Story: Afro-Asian Artists in Post-War Britain’ – 1989 exhibition at the Hayward Gallery, London. Courtesy of Rasheed Araeen and Asia Art Archive.

Are you interested in how contemporary art is presented and then critically received? What do you know about the history of racism in the British art establishment? Would you like participate in the design of a web prototype before its public launch?

Dr Lucy Steeds is working with a cross-course team of UAL students to develop an interactive digital platform for documenting and re-activating a highly significant exhibition of contemporary art that took place in 1989: ‘The Other Story: Afro-Asian Artists in Post-War Britain’. This exhibition, which first took place at the Hayward Gallery in London, will be mapped visually and spatially online, and then shared with the public for interactive engagement – all in collaboration with a group of students.

We will gather on Wednesday afternoons during May, 4pm to 6pm at CSM, Kings Cross. We will be joined by visiting speakers – including Rasheed Araeen and Sonia Boyce – and progress updates will be posted by participants.

Any enquiries? Please contact Lucy Steeds

Research initiated by Afterall at UAL, supported by a Digital Project Grant from the Paul Mellon Centre for Studies in British Art and amplified through UAL Curriculum Development Funding.

Listening Across Disciplines – AHRC Network Grant announced

Principal Investigator,  Dr. Salomé Voegelin, Reader in Sound Arts at the London College of Communication, UAL, and Co-Investigator, Dr. Anna Barney, Professor in Biomedical Acoustic Engineering at Southampton University, have been awarded a 12 month Arts and Humanities Research Council  network grant for their project Listening Across Disciplines.

This network project, developed with a strong commitment to cross-disciplinary research, will bring together artists, musicians, scientists, technologists and social scientists as well as scholars and practitioners from the humanities, to work across disciplinary boundaries on the recently emerging focus on sound and listening.

Salome 710x354

The aim of this £33,688 grant is to initiate an exchange that draws together auditory research initiatives and methods from across the disciplines to advance their status and use. The principal and longer-term ambition of this network project is to establish a research hub in listening methodologies. The hub will provide the infrastructure and shared terrain to develop and document, educate and disseminate information, guidelines and policies about listening as a methodology of investigation and communication; it will offer a space where culture and science can collide to generate new knowledge and create innovative modes of knowledge production and communication that bring value within and between the disciplines, and ultimately to a general public.

Related links

AHRC-logo-CMYK LScape  Resonance FM 200x200


An angel rises in Islington as emerging star artist creates celestial public sculpture

This week, rising star artist Alex J Wood was announced as the winner of the prestigious Picton Art Prize, as his winning work ‘Celestial’ was unveiled at a ceremony in Islington. The award-winning artist revealed his dramatic bronze angel sculpture on Wednesday, launching north London’s newest piece of public art.

Celestial, 2016. Artist: Alex J Wood. Image courtesy of Picton Art Prize

Created in the London Bronze Casting foundry, the impressive bronze sculpture will stand at 2 metres high, and is located as a centrepiece within Picton’s Angel Gate development, EC1.

Recognizing new talent

The Picton Art Prize judges comment that: “British eccentricity is a significant area of Alex’s practice, as well as the notions of obsessiveness through the creation of very intricate models. He combines lo-fi materials such as paper or wax with a high art material such as bronze, juxtaposing the two materials together to create amusing sculptures that portray narratives relating to human endeavour.”

Tim Hamlin, of sponsors, Picton, said: “We are delighted to announce Alex J Wood as the winner of the Picton Art Prize. In developing the prize, we specifically wanted to recognise new and emerging talent. We are thrilled to support the talent developed at UAL, which is reflected in the high quality of the shortlist.”

Nigel Carrington, Vice-Chancellor, UAL, said: “It’s vital that we support our students and graduates in the early stages of their careers, offering them opportunities to develop their practice and extend themselves, as well as high profile platforms on which to showcase their work to new audiences. The Picton Art prize offers just this.”

Angel sculpture by Alex J Wood Picton Art Prize
A rising star artist

Alex J Wood graduated from Chelsea College of Arts in 2014, with an MA in Fine Art. In 2014 Alex was the first Foundry Fellow at Camberwell College of Arts where he created a series of space travel inspired bronzes including ‘Fly Me to the Moon’, a bronze space rocket based upon the 1902 Georges Méliès film “A Trip to the Moon”. ‘Hidden Depths’, is verdigris green patinated bronze with an ambiguous form now in The Patrick and Kelly Lynch collection.

In 2015 Alex was shortlisted for both The Mark Tanner Sculpture Award and The Henry Moore Plinth Prize, and in 2014 he was selected for art residency in Beijing. In April 2013 Alex was resident artist at Tokyo Wonder Site in Japan, and exhibited in Tokyo and London.

Alex was recently commissioned by Penguin Books to create a sculpture for Foyles Flagship London store. Whilst studying for his MA Fine Art at Chelsea, Alex was the 2013 recipient of The Patrick and Kelly Lynch Scholarship. His work is held in various private collections in the USA and Europe as well as the University of the Arts London collection. In both 2013 and 2014 he was shortlisted for The Clifford Chance Sculpture Award.

The judges

The Picton Art Prize juding panel comprised artists Susanna Heron and Nick Hornby; Head of Arts and Culture for Queen Elizabeth Olympic Park, Adriana Marques; Picton Asset Manager, Tim Hamlin; and Director of External Relations, Central Saint Martins, UAL, Stephen Beddoe.

Read more about funding and mentoring at UAL

Discover fine art courses at UAL

See Alex J Wood’s prize-winning Angel sculpture at Angel Gate, Islington, EC1

Read more about Alex J Wood

The power of The Collective

Gone are the days of getting discovered in obscure downtown galleries – it is the era of The Collective. Assemble – part architects, part designers – proved just that when they were the first Collective to scoop the Turner Prize last year. Death of the Turner? Or just a new way of practicing art?

Here, UAL talks to Steph Wilson, 23, founder of the Lemon People who says the Collective just well may be the way of the future.

Lemon People group shot

You’re the founder of the Lemon People who are…
We’re a London-based collective made up of artists, writers, photographers, filmmakers and musicians. We work as individuals, mostly as freelancers, but a lot of our work wouldn’t be possible without the combined effort of the Lemons. Plus, our never ending favours to one another means our creativity is never hindered.


Alice Zoo

Do you actually just need to be in a Collective to afford studio space and have enough money to study and have a social life?
No, but it definitely helps. Being in a Collective just adds more reason to go out of our way for each other. There’s an element of knowing that if a fellow member succeeds, then that success will lead back to the Collective. That way, you and your fellow Lemons work will be seen more frequently.


Elliott Arndt

Do Collectives get noticed more?
In a literal sense, yes they do. By having our work all linked to Lemon People it all leads back to one place – increasing the views of our website, and our collective’s work. We become more noticeable.

Steph Wilson_ two girls

Steph Wilson

You all look like models! Is there a conscious effort to look a certain way as an artist?
Yes, I intended to make an art collective/model agency hybrid. Really? No. We just got lucky.

Elliott Arndtlemon

Is there an ‘audition’/ hazing ritual process for becoming a Lemon?
We’re all close friends, so, to become a Lemon I guess you’ve got to get on our good side for, on average, about five – 10 years. I’ve known most of the girls since we were about 12. We all went to school together. Either that or you could donate £100k to the Collective. We’d let you be a member for that, too.

download (3)Steph Wilson

What is it about Collectives that make them powerful?
It serves as a kind of comfort knowing that there are people who have got your back. We know that if a job comes up that I can’t do, it’s not a wasted opportunity and it’ll go to a Lemon and vice versa.

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Do you operate almost like a ‘dysfunctional’ family and tell each other when one of the Lemon’s work is not up to scratch?
If a dysfunctional family means that I am the angry nagging mother that says how shit something is occasionally, then yes. It’s difficult when people are at a risk of being offended. I’m a fan of being as blunt as possible, regardless of how tactless it comes across as, and I’m sure I’m hated for it. But hey, someone’s got to do it.

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What are the biggest tensions/ most frustrating thing about being in a Collective?
Ego. Almost all of us are quite strong characters with our own minds made up about certain things. Ego and stubbornness often gets very frustrating, and we still need to learn to curb that into a positive asset by asserting official roles when working together collaboratively as to not trip over each other.

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If you could come up with a new ‘model’ for how artists work, what would it be?
I would design a laissez-faire art system. I liked how when I did a 6 month foundation course at UAL’s Chelsea College of Arts, it was based on positive criticism, led by an experienced figure. But essentially, you’re left to your own devices. To learn in an environment, where you are free to simply soak up knowledge and experience- would be a good structure. Constantly meeting useful and interesting people always gets you so much further than a piece of paper.


Alice Zoo

What are your predictions for the ways artists will work in the future?
People are getting quite lazy, so I hope it’s not just online stuff or work so abstract you eat it by accident at the private view. As young people get more savvy – because they have to – hopefully this will lead them to become even more creative in order to survive. I just hope it doesn’t turns into the very wealthy taking on their mother’s art gallery and only exhibiting their very wealthy friends’ shit work.


Steph Wilson

Sex? Politics? What do you think will always be the ‘best-selling’ subject as an artist?
Oneself. We’re all obsessed with ourselves; what we think, how we feel, what our shit looks like, everything.

Meg Nixon

Meg Nixon

The worse the break-up, the better the art?

You can cry and scream, or you can do what these 12 artists did…

1. FEEL THE BURN: Microwave the evidence

Hansika Jathnani - London College of Communication, BA Photography

Hansika Jethnani, Xhibit Artist, London College of Communication, UAL

“My long distance ex-boyfriend broke up with me over a WhatsApp conversation. Breaking up in person was impossible, and so it happened over a cyberspace of floating words instead. Like the anticipation of heating something up in the microwave – I was in constant agony waiting for a reply. When I heard back, it was gut-wrenching words that broke my heart. I put Polaroids I photographed in the microwave. What I photographed did not matter – it was what happened to the Polaroid once popped into the microwave that did. Burnt and damaged they resembled me through the wretched phase of my relationship.” – Hansika Jethnani, Xhibit Artist, London College of Communication, UAL.
See it now: Xhibit 2016 @UAL



“Ex-Axe”: Museum of Broken Relationships.

Forget storing memories of your ex in a tattered shoe box – display the remnants of your break-up in the Museum of Broken Relationships instead! Sheer exhibitionism? Cathartic relief? Closure? Whatever the motivation, you are free to share in and gawk at others misery in a united “we’re so over you” front. From a toaster stolen out of spite, to a used axe that a spouse had used to smash up every bit of her cheating husband’s furniture – there’s something for everyone. Even Jeremy Clarkson revealed to Sunday Times readers that he was impressed: “…most of the world’s museums are filled almost entirely with stuff that’s not very interesting. (This) was the only museum I’ve visited where every single thing on display was utterly fabulous. Certainly, I must confess, as I moved from exhibit to exhibit, that I felt a tinge of fear that the next would be a teddy bear with a severed head and a short accompanying story about a former local newspaper reporter with an interest in cars and a very small gentleman sausage . . .”



Allison Wade/ Huffington Post

“I obviously date the wrong people,” artist, Allison Wade told The Cut after she received a text message from an ex telling her: “I’ll contact you after the burial”. She never heard from him again. It prompted her to comb her phone for other break-up texts and used these, along with inspiration from rom-com clichés to create a series of Break-up Text paintings, which showcase the messages she’d sent and received at the end of various relationships. Dizzying texts: “WTF!!! You left for Ibiza without me,” to “Sorry I have been out of touch this week. There was a snowstorm and I have been watching movies,” to “on Zanax at the airport had a panic attach please stop calling me” are juxtaposed against jaunty colour hues – perhaps a nod to the cold nature of screen-based communication.



You can cry or you can show them how good you can look – which is exactly what Alexis Housden, London College of Fashion, UAL student did when he based his MA16 Menswear show on a break up. “When someone leaves you, you think you are going die but you don’t – everything ends up OK and life continues – the world continues to be light and wonderful.” Housden’s collection represents mourning, anger and then rebirth.



The Scream, Edvard Munch, 1893

It may very well have been a break-up that led to expressionist, Edvard Munch’s seminal work: “The Scream.” It’s 1892 and Munch confesses in his diary: “I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature…” His misery may have been born out of an ill-fated on-again, off-again affair with his cousin’s wife – irrational bohemian Tulla Larsen. The affair ended with a bang, when Larsen shot off one of Munch’s fingers with a revolver during an argument. Adding insult to injury, Larsen went on to marry one of Munch’s colleagues.



Sophie Calle, Take Care of Yourelf, Artation

French artist, Sophie Calle received an email sent to her by a boyfriend intent on breaking up with her. It ended with the words, “I would have liked things to have turned out differently. Take care of yourself.” And so, she did just that. Calle sent the letter to 107 women from different professions and backgrounds—a psychiatrist, an author, a rifle shooter, an opera singer, a family mediator, a lawyer, even a parrot—asking them to interpret the text. It resulted in her 2007 tour de force, Take Care of Yourself that saw an entire gallery taken over with interpretations and performances of the letter. The repetition of the original letter, played over and over again, led Calle to focus on the project – not the man. Voila! Take her of herself, she did.



Matthew Broderick & Helen Hunt, 1987, Old Loves

Old Loves. The name invokes images of elderly lovebirds, but it’s actually an exhaustive catalog of celebrity couples who are no longer together. From Matt Damon and Winona Ryder, to Matthew Broderick and Helen Hunt, and Cher and Gene Simmons. The ex-files are out.



Screenshots of the Facebook breakup tool, New York Times

Not only does Facebook have a dedicated Compassion Team – it also has tools that allow you to digitally fade out former lovers. Product designer, Emily Albert got thinking when she found it difficult to face her former flame’s Facebook post. Solution? Create a tool that prompts users to choose from a variety of phase-out options after changing their relationship status: “Take a Break. Here are some changes that might be helpful. We won’t notify Taylor of any changes you make. See less of Taylor. See Taylor on Facebook only if you visit his profile.”



Revenge Dioramas, Facebook Page

Want to live in a world where your ex gets run over by a train? Where lovers rule and the cheats who have wronged them perish in a dinosaur attack? Well, now you can thanks to artist Laura Stokes and her collaborator Nichole Cordin who have created ‘Revenge Dioramas’ – based on break-up fantasies, which they photograph and post to their Facebook pageCountless stories of betrayal inspired Stokes to make her revenge dioramas: “I realized this is really a thing that women in particular need,” she told Mashable. “We need to laugh at men. With all the headlines about men taking away our reproductive rights, denying us justice in court for rape and sexual harassment, refusing to listen and believe women about their experiences, there’s a lot of justified rage in women right now,” she said. “This is just one way to feel some catharsis about that, to strike back just a little bit.”



Untitled, 2012. From the series Beth. Matthew Swarts.

Constantly comparing? Hard to let yourself fall for new love? Matthew Swarts dealt with these questions he split up with a long-term girlfriend and then found a new one a year later. He channeled the change-over in two photo series. In Beth, he manipulates old photos of his ex-girlfriend so she slowly fades from view. In The Alternatives, he manipulates images of his new girlfriend to represent the complicated process of forging a new bond.

11. GET A MAKEOVER: “Love Raised Me Lipstick Saved Me.”


Angelique Velez

New York City based make-up artist, Angelique Velez founded Breakups to Makeup, an accessory & apparel line, showing that makeup is more than a simple product – it’s art. And sometime the only thing better than saying it – is wearing it.



Nicole Leth. Instagram: sex.icecream

Take a leaf out of Nicole Leth’s book and rebound from a break-up by launching a business and becoming ridiculously successful. Founder of Sex + Ice Cream, a clothing brand that could be described as “breakup art,” based on “graphic patterns, bright colours, traditional fiber techniques mixed with modern processes, and honest storytelling of my girlhood.” Every fiber of Leth’s being goes into her designs—she’s literally personally attached. “All of the patterns and prints I use are scanned directly from my diary,” she told Nylon.

Charlotte Hodes film selected for the UK’s first film festival launched by the Crafts Council and Crafts magazine

Hodes Film

‘Questions of Travel’ a film by Charlotte Hodes, Professor in Fine Art at LCF and Deryn Rees-Jones, Professor of Poetry, University of Liverpool has been selected for the UK’s first film festival launched by the Crafts Council and Crafts magazine, is set to be among the highlights of this year’s London Craft Week.

Real to Reel: The Craft Film Festival takes place on the evenings of 4 and 5 May at Picturehouse Central in London’s West End, with a carefully curated programme of different films shown each night.

Following an open call, 36 films have been selected from well over 300 submissions, covering the gamut of styles from animation to satire and from documentaries to surreal art pieces. As diverse as the films are, each looks at our relationship with materials and making in different ways.

Questions of Travel follows Elizabeth Bishop’s poem Questions of Travel (1956), deconstructing the binaries of ‘here’ and ‘there’ to develop the idea of travel as a metaphor for the creative process: reading, drawing, thinking and imagining. Bishop’s phrase ‘must we dream our dreams and have them too?’ is central to our exploration of anxieties about empirical thinking and the workings of the imagination. Hodes’ work, which uses physical handcraft and digital processes of ‘cut’ & ‘paste’ engages directly in a visualisation of Bishop’s own aesthetic. It enacts Bishop’s engagement with modernist techniques which sought to disrupt linear time into an act of what Bergson calls ‘continuous creation’. Rees-Jones’ underpinning research for the collaboration draws on Bishop’s early writing and her desire for what she calls ‘experience-time’; playing with screen, stage, frame, ‘binocular’ and ‘monocular’ visions we ally this notion with Bishop’s use of the term ‘stereoscopic’ to dramatise her particular poetics of looking.

‘Questions of Travel’ was commissioned by Dr. Jonathan Ellis, University of Sheffield for the Festival of the Arts and Humanities, Sheffield 2015 and was first screened at the Site Gallery, Sheffield 15 May 2015. It  is the second in a series of commissioned collaborations by artist Hodes and poet and critic Rees-Jones using the poemfilm both as artistic practice and vehicle for critical interpretation. Their  project uses work by women writers, set at historical intervals, to open debates about female creativity. It forms part of an ongoing research project, ‘Reimaging the Muse’.