We catch up with Foundation students before they move onto the next stage in their creative education. This year, we look at projects that put our insides on the outside or find delight on the boundary of the two.
"The Oni is a feared beast-like creature in Japanese folklore. The fear and disdain they receive due to being different, is an experience felt by many queer identities, like myself. However, in a way, it is this very trait of being different which Onis and other monsters use as almost a protection, warding off and scaring away any threats.
This defensive tactic is something that I saw in my choice of clothes which highlights my maximalist queer aesthetic of big shapes, colours and texture, all of which help me feel invulnerable. This project became an opportunity for me to create a garment that exudes my queer identity, wrapping me and any other queer people in feelings of invulnerability and significance, just like an Oni that uses it’s differences to be feared."
"My project began with my initial interest in the metamorphosis of the body and our corresponding relation to self and identity through our physicality. About half way through, I completely lost myself in anguish and despair as I overly searched for meaning within the direction of my art, but more so my life haha. Through enduring my struggle, something beautiful began to emerge when I completely let go of any kind of intentions and stepped away from my ego. Letting go let the new emerge, and I think that that is reflected in the work I ended up producing."
Jack Oulton, Fine Art
"Negotiating a relationship between remnants of the visceral body and clinical aesthetics, I desire materials that occupy a space between organic and artificial such as silicone and synthetic hair.
Enfleshing the inanimate explores ways in which objects may enter the liminal space between sentient body and insentient object. Recognisable parts of the body are alienated from their source, allowing the body to be seen as a force of contamination.
I’m captivated by the idea of margins. Through alienating bodily materials from their original context, it allows these works to dance between familiar and unfamiliar whereby the known transgresses into unknown and becomes more menacing. I am currently fixated by the notion of suspending certainty – through using synthetic hair instead of human it provokes questions of origin and artificial production."
"Let it touch me is based on questions I have about society. The first starting point was a drama I watched on Netflix about a goldfish. When I was thinking about why people are fascinated by the goldfish, I felt as if it represents Japanese women and there is a distorted perspective as they are seeing things through the inside of a bowl.
I would like to communicate through my garment that it is about protecting yourself and establishing that status in a situation where no one can touch the parts of you and your mind."