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The 'Living' Room synopsis and images: The ‘Living’ Room is not revolutionary in its material choice; but in its contextual application. It is a lounge not meant for the human to inhabit, which opposes the entitlement we as a society have granted ourselves to use and consume the planet. In the 19th century papier-mâché furniture was very commonplace, as the expense of paper meant that none would be wasted. Despite the abundance of paper waste now available, we have lost this craft along with our ‘make do and mend’ culture. This lounge, composed of papier-mâché furniture, challenges us to consider which products or materials we adopt into our domestic lives and in turn, questions our preference to furnish spaces with items that, though stylish, recklessly ignore at what cost. The pieces of paper furniture in this room have mutated, to become the inhabitants. In our warped society we favour fashion over the beauty of the planet that birthed us – it’s time to consider the consequences and restore the balance. Affected by a COVID-19 closure, I was unable to complete the full room to the desired standard: however I made the following renders and 'VOID' the vase seen below and the bookcase- both will be developed further in the future using moulds. Images of a bookcase made of paper mache with mutations and a papermache vase. Alongwith a living room set up design with mutated furniture
The bowl project imagery and synopsis: Unfired clay’s fragile properties perflectly conveys stress inflicted upon it. When in peace the clay is generally conformative to its placing. Once under pressure, the clay begins to crack, warp and fall. For me, stress and eating run in ever clashing lines. Stress causes eating to become a manic cycle of non-existence, binging or bullimia. My self set constraints on eating cause stress, and stress trigers these rules. Through recovery I have found friends and family to be my protective factors encouraging me to eat and self care. Despite this loving foundation external factors cause the cracks to begin to form. The flowers n this basket weave are the favourites of my friends and family; thus them becoming the metaphorical bowl they feed me through. The bowl is placed on the cardboard box to resemble the idea of the transitional object and how I  ship both my protective factors and burden of relapse with me.  Images of a weaved bowl dipped in slip with flowers in
 Images for Proletariat and synopsis. Proletariat dotes on the language an object can hold;a by analysing the chaise longue. In western society we dictate the chaise to be an upper class feminine piece, a societal stamp. What happens when these boundaries are crossed by playing with material? Made from stuffing hand processed wool within a welded and chicken wire covered frame: functionality and comfort come under the lense of inspection of value. The work looks at our class system under the scope promoting the questions; are we as members of society the sheep or wolves? The bourgeoisie or the proletariat? The demure or unforgiving? Images of Megan Barker and Rosemary Weeks modelling the chaise in chic style with smudging makeup, also throwing wool
Imagery and synopsis of Catharsis. Based on the realisation I had PTSD and coming to accept and deal with it - I explored the cathartic experience of destroying objects from traumatic experiences while exploring the fragility of materials. Though the objects had negative memories, in the past, I couldn’t bring myself to get rid of them as there was a bittersweet connection between me and them. So in order to destroy but also preserve them I sewed copper wire into the seams of the clothing and paired it with etched copper plates of what I felt when feeling the items: before burning them in a kiln. The object’s different materials meant a different level of remains were left from each- purging myself from each one. Viewers were invited to touch and crumble the works along with me- before throwing the ashed remains away. The materials fragility became a metaphor for my body and my recovery and the strengths and fragilities they inherently carried. Images of kiln burned clothing flaking.