Category: MA Art & Ecology

Posted on

Laure Vigna

Email: lvign001@gold.ac.uk

Website: laurevigna.com



There are Tides in the Body, Unfired stoneware, earthenware, terracotta, wild clay from London construction sites, soil from the Ravensbourne River, sand and water from the Thames River, sisal, steel, London bricks, bacteria (campylobacter jejuni, e. coli, salmonella, shigella, staphylococcus, yersinia, …), viruses (bacteriophages, …) and other microorganisms, plankton, algae, salt, sewage, oestrogens, microplastics, glass shards, possible traces of high levels of nitrogen and phosphorus, heavy metals (aluminum, mercury, lead, cadmium, arsenic, chromium, thallium, copper, nickel, zinc, …), pharmaceuticals (beta-blockers, antibiotics, antidepressants, caffeine, sleeping medication and antihistamines, …), chemicals (detergents, food additives, preservatives, cosmetics, …), organochlorines (pesticides, flame retardants such as PBDEs and NBFRs, PCBs, DDTs, HCBs, …), etc., Photo credit: Barney Pau, 2022.





There are Tides in the Body, Unfired stoneware, earthenware, terracotta, wild clay from London construction sites, soil from the Ravensbourne River, sand and water from the Thames River, sisal, steel, London bricks, bacteria (campylobacter jejuni, e. coli, salmonella, shigella, staphylococcus, yersinia, …), viruses (bacteriophages, …) and other microorganisms, plankton, algae, salt, sewage, oestrogens, microplastics, glass shards, possible traces of high levels of nitrogen and phosphorus, heavy metals (aluminum, mercury, lead, cadmium, arsenic, chromium, thallium, copper, nickel, zinc, …), pharmaceuticals (beta-blockers, antibiotics, antidepressants, caffeine, sleeping medication and antihistamines, …), chemicals (detergents, food additives, preservatives, cosmetics, …), organochlorines (pesticides, flame retardants such as PBDEs and NBFRs, PCBs, DDTs, HCBs, …), etc., Photo credit: Barney Pau, 2022.





Posted on

Benjamin Verdicchio

Email: fauxverdi@gmail.com

Website: benjaminverdicchio.com



  • An installation comprised of wooden objects.
    Outpost, Borrowed coat hook, borrowed plywood boards, gleaned mass-produced chair, encountered and appropriated mask-like piece of tree, 2022.
  • An installation comprised of wooden objects.
    Outpost, Borrowed coat hook, borrowed plywood boards, gleaned mass-produced chair, encountered and appropriated mask-like piece of tree, 2022.
  • An installation comprised of wooden objects.
    Outpost, Borrowed coat hook, borrowed plywood boards, gleaned mass-produced chair, encountered and appropriated mask-like piece of tree, 2022.
  • An installation comprised of wooden objects.
    Outpost, Borrowed coat hook, borrowed plywood boards, gleaned mass-produced chair, encountered and appropriated mask-like piece of tree, 2022.
  • An installation comprised of wooden objects.
    Outpost, Borrowed coat hook, borrowed plywood boards, gleaned mass-produced chair, encountered and appropriated mask-like piece of tree, 2022.

Outpost is a transitionary space, a rotationally symmetrical place, where one could pause in between transitions, assembled from various forms of gathering, some carried along, others traded or returned.





  • An installation comprised of wooden objects.
    Reciprocal Structure, Gathered Buddleja branches, gleaned rope, borrowed plywood boards, 2022.
  • An installation comprised of wooden objects.
    Reciprocal Structure, Gathered Buddleja branches, gleaned rope, borrowed plywood boards, 2022.
  • An installation comprised of wooden objects.
    Reciprocal Structure, Gathered Buddleja branches, gleaned rope, borrowed plywood boards, 2022.

Plants growing on site, moved to a differing space within, as a means of introduction, building relationships, by using precarious and temporary structures.





  • An installation comprised of wooden objects.
    Base Camp Arena, Borrowed wood pole belonging to Femi, borrowed plywood boards, borrowed cinderblocks, 2022.
  • An installation comprised of wooden objects.
    Base Camp Arena, Borrowed wood pole belonging to Femi, borrowed plywood boards, borrowed cinderblocks, 2022.
  • An installation comprised of wooden objects.
    Base Camp Arena, Borrowed wood pole belonging to Femi, borrowed plywood boards, borrowed cinderblocks, 2022.
  • An installation comprised of wooden objects.
    Base Camp Arena, Borrowed wood pole belonging to Femi, borrowed plywood boards, borrowed cinderblocks, 2022.
  • An installation comprised of wooden objects.
    Base Camp Arena, Borrowed wood pole belonging to Femi, borrowed plywood boards, borrowed cinderblocks, 2022.
  • An installation comprised of wooden objects.
    Base Camp Arena, Borrowed wood pole belonging to Femi, borrowed plywood boards, borrowed cinderblocks, 2022.

A Patch of soil where things grow and objects live, a pole timbered smooth then rendered again partly a tree, on a site shared by many without a clear definition.





Posted on

Barney Pau

Email: contact@barneypau.com

Instagram: @barneypau

Website: www.barneypau.com



An image of a phallic loaf of bread on a wooden table.
The Baker’s Bedroom, Bread (rye & spelt; YQ, emmer, squarehead master, & whole grain wheat; wrinkled, marrowfat, yellow, & carlin peas; styrian pumpkin, sunflower, hemp, brown & golden linseed; rolled & jumbo oats; rye, barley, & malted wheat flakes; salt), paper, found objects, gouache, 2022.

The Baker’s Bedroom is a comment on heteronormative domesticity. By focussing tropes of home, the piece challenges how we view consumption, and suggests how the practice of queering might help change these consumptive practices.





Fortify, Dough (fortified white flour, fast action yeast, salt), found objects, 2022.

Fortify evokes the horror of contemporary food production practices, focussing on the fortification of flour. Themed around sterility and purity, I filmed a dramatised version of the fortification of bread.





  • An image of three cubes made out of bread.
    Geologic Bread, Clay, bread (mulika, emmer, YQ, & squareheads master wheat; spelt, & rye; red fox & badger carlin, marrowfat, whole blue & yellow peas; foraged common sorrel, oregano, yarrow, ribwort & broadleaf plantain, meadowsweet seeds; pumpkin, sunflower, hemp, brown & golden linseed), charred bread, 2021.
  • an image of four squares made out of several ingredients of bread.
    Geologic Bread, Clay, bread (mulika, emmer, YQ, & squareheads master wheat; spelt, & rye; red fox & badger carlin, marrowfat, whole blue & yellow peas; foraged common sorrel, oregano, yarrow, ribwort & broadleaf plantain, meadowsweet seeds; pumpkin, sunflower, hemp, brown & golden linseed), charred bread, 2021.

Geologic Bread is a collection of prescient semiotic artefacts, made to communicate sustainability across deep time, to a fictional society 10,000 years in the future that relies wholly on industrial food production.





Posted on

Djuna O’Neill

Email: djunaoneill@gmail.com

Instagram: @djunaoneill



Ní dóghann na cipíní a tógtar ón gcrann atá ag fas ann. 
The sticks taken from the tree that grows there do not burn. (excerpt), Video, 2020.





Ní dóghann na cipíní a tógtar ón gcrann atá ag fas ann. 
The sticks taken from the tree that grows there do not burn. (excerpt), Video, 2020.





A photo of an installation of sculptures and video.
Bog Oak, Bullán, Fleece, Plaster, silk, madder root extract, acrylic sheet, clay, paraffin wax, sheep’s wool, crab claw, wool, CGI, 2021.





Posted on

Natasha V. Moody

Email: natashavmoody@gmail.com

Instagram: @nvmoody

Website: www.natashavmoody.com



An image of meadow flowers against a black background.
Eternal Dew, photograph, 2022.





An image of a sculpture made of string against a black background.
Aura, bladder campion flowers dipped in resin strung on red thread, light, 2022.





  • Images of a flower sculpture hung upside-down on an overhead projector in a dark room.
    Unwaking, hand-beaded lavender strands, resin dipped lilies and light, installed on overhead projector, 2021.
  • Images of a flower sculpture hung upside-down on an overhead projector in a dark room.
    Unwaking, hand-beaded lavender strands, resin dipped lilies and light, installed on overhead projector, 2021.
  • Images of a flower sculpture hung upside-down on an overhead projector in a dark room.
    Unwaking, hand-beaded lavender strands, resin dipped lilies and light, installed on overhead projector, 2021.





Posted on

Sophie Mayer

Email: hello@sophiemayer.org

Website: @sophieamayer



A sculpture of a large rock bisected by a golden ring.
Queer/ing Coal, Coal, brass, 2022.

Through the act of Queer/ing coal, we can reconfigure our relationship to the dark material as regenerative rather than toxic. This is a post-fuel, quantum leap into a speculative carbon imaginary. 





  • An abstract image of a microscopic view.
    Hallucinating a New Time, coal, saliva, 2022.
  • An abstract image of a microscopic view.
    Hallucinating a New Time, coal, saliva, 2022.
  • An abstract image of a microscopic view.
    Hallucinating a New Time, coal, saliva, 2022.
  • An abstract image of a microscopic view.
    Hallucinating a New Time, coal, saliva, 2022.
  • An abstract image of a microscopic view.
    Hallucinating a New Time, coal, saliva, 2022.

Could Queer Coal be a way of hallucinating a new time? To kill the fallacies of the present? An opening of a door into another time to call upon a more just future.





Hallucinating a New Time, coal, saliva, Sound by Lori E Allen, Edited by Leila El-Kayem, 2022.

What time is it? Queer Coal sparks queer quantum imaginings which cut across space and time. At stake are questions of justice and responsibility.





Posted on

Becky Lyon

Email: beckyl.lyon@googlemail.com

Instagram: @elastic_fiction

Twitter: twitter.com/elastic_fiction

Website: www.elasticfiction.co/



An abstract sculpture made out of sticks and paper.
Embodies of Arboreal Time, Wood, paper, acetate, mirror, 2021.

Scans of the artists’ body woven with a 2,000 year old ancient yew (London’s oldest living being). Part installation, part spatial altar – a slip into the slowth of arboreal (tree) time…





An abstract image, obscured by twigs.
String Figuring, Paper sculpture, 2021.

Exploratory performance in Stanmore Country Park, London. The artist enrobed in a digital print, embedded in the tangle. Photograph: Benjamin Elford.





Compost Crystal, Compost, Ice, 2021.

Assemblage of forest floor fragments cast in compost and ice, becoming and unbecoming. Part of my investigation into “dead” wood which, by its very existence, is a conduit of ideas for co-flourishing in ruin.





Posted on

Sophie Hughes

Instagram: @sophie_hughes_art



A Black and White Print of a person holding a swan.
Swan Song, Black and White Print, 2022.

An exploration of grief and migration.





Carousel, Video, 2022.

An exploration of consciousness and migration.





LIGHT ACTIVATION CODE, Video, 2020.

An exploration of belief systems.





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