Slade School of Fine Art
Slade Interim Show 2022

MA/MFA Interim Show
Open to the public 6 - 11 October
Weekdays: 9:30am - 8:30pm
Weekend: 9:30am - 6:30pm

How To Fit In, Eva Bachmann, 2022, (installation) digital photography, household objects, 2.5 m x 3 m

How to Fit In installation refers to resourceful ways when trying to adapt as an outsider.

©the artist

Eva Bachmann
Previous Next
Playpen Paralysis, Rosie Kennedy and Robbie Campbell, 2022, still image from 5:00 min video

©the artist

Rosie Kennedy
Previous Next
Dad Magnets, Ty Locke, 2022, fridge freezer, paper, magnets,

A fridge freezer covered in 734 fridge magnets of my dad holding me as a baby.

©the artist

Ty Locke
Previous Next
I'll be seeing you, Sophie Rogers, May 2022, mixed (laser cut perspex, computer pins, PC cooling fans, metal bolts, LED pin badges)

©the artist

Sophie Rogers
Previous Next
Untitled, Claudia Rose, 2022, various made and found objects. Site specific, dimensions variable

A warm hum from somewhere to be far away

©the artist

Claudia Rose
Previous Next
Claudia 2, Marietta Mavrokordatou, 2022, gelatin silver print, 28 x 17.5 cm

©the artist

Marietta Mavrokordatou
Previous Next
Woman with child, Antonia Caicedo Holguin, 2022, oil on canvas, 82 x 81 cm

©the artist

Antonia Caicedo Holguin
Previous Next
ANSWER, Jiayu Sun, 15 September, 2022, video, performance, 7minutes, 40 seconds. 20 seconds of performance after video

As the phantom limb pain occurred to him every single day, Jiayu decided to embark on a search for the lost part of his body. His journey goes through an imaginary world, reality and cyberspace, whereby he is exploring memories, everyday life, and information remaining on the internet. Finally, Jiayu finds the other part of his body and returns back to the physical world.

©the artist

Jiayu Sun
Previous Next
Sympathetic Magic, Philip Speakman, 2022, HD video and text, 07:04 minutes (looped)

©the artist

Philip Speakman
Previous Next
◻︎4DC4, Yiwen Li, September 2022, acrylic paint on canvas, 61 x 51 cm, 20.3 x 25.4 cm, 30.5 x 82 cm

©the artist

Yiwen Li
Previous Next
1 ۵ 1, Sana Iqbal, 2019-2021, 8.5 ft x 5.3 ft (each photograph is 5-inch x 5-inch)

We identify ourselves by the choices we make, by the things we choose to keep in our possession and those we discard. Objects because of their tangibility, echo of a user’s persona and reflect the spaces they could or must have once inhabited. They reveal an alternate reality. By creating an archive of found objects from abandoned sites, Sana investigates how socio-political factors play into this identity of a person and that of a nation’s. Furthermore, the contribution of this identity in the concept of ‘other’ which ultimately paves way for creation of boundaries (whether they be imaginary or real).

©the artist

Sana Iqbal
Previous Next
Landscape, Yu Li, September 2022, installation, 6 x 82 x 10 cm

In the paradigmatic genre of Chinese education, the expression of thoughts and imagination of distant landscapes.

©the artist

Yu Li
Previous Next
Traces to Cavity, Harry Smithson, 2022, wax, cardboard, mahogany, speakers, cables, synthesiser, 4000 x 1500 x 1000 mm

©the artist

Harry Smithson
Previous Next
untitled (fleeting though), Gabrielle Bejani, 2022, collage on napkin, 30.5 x 32 cm

©the artist

Gabrielle Bejani
Previous Next
“who are they now?”, Chaney Manshu Diao, 20 Sept 2022, mixed media, text, installation, 35cm (W) x 120cm (L) x 180 cm (H)

©the artist

Chaney Manshu Diao
Previous Next
Installation view of 'Articulations' showing 'Compassionate Attention' at The National Festival of Making, Blackburn, UK, Hannah Leighton-Boyce, 2022, plaster, video, ceramic, greaseproof paper, polystyrene, intaglio print, dimensions variable

©the artist

Hannah Leighton-Boyce
Previous Next
Lion, Lies and Love, Yuyue He, 2022, documentary film, 1080p, 33mins long

The film starts from a question: “Would you still love me, if I have nothing left?”. It explores love and expectations, fear and understanding from the perspective of social and intimate relationships. This documentary film would like to discuss confusion and anxiety, especially for young people. In the end, the film is looking for the answers about love: If "having nothing left" and "love" can coexist? Or if one has nothing left, is it still possible to continue the love?

©the artist

Yuyue He
Previous Next
Here Trees Are 45ft Apart, Junyi Lu, 2022, oil, acrylic, pastel, spray paint, marker, thread, aluminum wires, found objects on canvas; tree models, plastic wine glasses, plasticine, and chains on pub tablessize: 140 x 170 x 70 cm

©the artist

Junyi Lu
Previous Next
Dinosaur Colour Chart 1993, Chika Annen, March 2022, print

The chart shows sampling colours of dinosaurs from magazines, “Dinosaur!”, published in 1993.
The visual representation of dinosaurs and their association with cultural/social demands surrounding science have changed over time. Dinosaurs are very particular beings; The evidence of their existence is mere remains and have never been seen as living creatures during human history. Due to their monstrous nature, we are familiarised with their unimaginable appearances, but our impression of these dinosaurs demonstrates the contemporary romanticisation of mythical creatures.

©the artist

Chika Annen
Previous Next
The Shadow of a Doubt, Kristian Alanson Bruce, 2022, oil on linen, 34 x 26 in

©the artist

Kristian Alanson Bruce
Previous Next
Shelf, Jamie Hammill, Shelf, 2022, hardwood, sisal twine, plywood chair part, wool textile, stainless steel, cinnamon, 100 x 50 x 25 cm

©the artist

Jamie Hammill
Previous Next
thinking about art when the world is burning, blithe germ, 2022, plant matter, rocks, paper, screen print on rag, and recovered waste materials

©the artist

blithe germ
Previous Next
Undesirable Marks of Time: Breakfast Bowl , Kate Towsey, 2022, soluble mixed media, motion-sensor water drip, 14 x spoons of porridge

Exploring the fragility of memory, domestic objects disfigure in response to their audience.

©the artist

Kate Towsey
Previous Next
Odradek 04 (Wearable translation device), Federico Arani, 2022, ceramics, prosthetic gelatin, medieval metal artifacts, fabric, brass, rubber.

A part of a harness with unclear function and composition, halfway between prosthesis and extension, is left inside the space. A device clearly disconnected from its original time and location, is filled only with its hypothetical potential.

©the artist

Federico Arani
Previous Next

Sam Ge

Georgia Dymock

Eva Bachmann

Rosie Kennedy

Billy Sassi

Ty Locke

Raphaella Pester

Sophie Rogers

Claudia Rose

George Richardson

Marietta Mavrokordatou

Sam Meredith

Yuuki Horiuchi

Luyin Cao

Antonia Caicedo Holguin

Jiayu Sun

Philip Speakman

Andy Wyatt

Ivan Kashdan

Sofia Bordin

Yiwen Li

Sana Iqbal

Yu Li

Cheuk Yiu Lo

Isabelle Pead

Harry Smithson

Frederika Dalwood

Yeonsu Ju

Isobel Mei

Gabrielle Bejani

Chaney Manshu Diao

John Sant

Indianna Solnick

Hannah Leighton-Boyce

Corrine Chan

Jiayu Zhang

Christina Cushing

Yuyue He

Yijue Zeng

Junyi Lu

Jesse Rivers

Akshay Bhoan

Chika Annen

Hannah Uzor

Ilona Balaga

Kristian Alanson Bruce

Jamie Hammill

Anna Sebastian

blithe germ

Camillo Parra

Rachel Irons

Martha Horn

Lydia Merrett

Kate Towsey

C PANNELL

Federico Arani

Yuecen Wang