UAL BA Photography Degree Show 2022 - Practices

This a photograph that makes up part of a larger project titled ‘The Attic Is Full Of Dead Flies’ by Diggory Lynch exploring spatiality and how it can inform interior mental states. The photographs from the work were taken at Lynch’s childhood home and his old school. Using an old press flash, the images have a forensic quality as Lynch searches for physical traces that might reveal narrative potential, whether that be chewing gum stuck underneath a school desk, or flies squished into the wallpaper. 

This a photograph that makes up part of a larger project titled ‘The Attic Is Full Of Dead Flies’ by Diggory Lynch exploring spatiality and how it can inform interior mental states. The photographs from the work were taken at Lynch’s childhood home and his old school. Using an old press flash, the images have a forensic quality as Lynch searches for physical traces that might reveal narrative potential, whether that be chewing gum stuck underneath a school desk, or flies squished into the wallpaper. 

This a photograph that makes up part of a larger project titled ‘The Attic Is Full Of Dead Flies’ by Diggory Lynch exploring spatiality and how it can inform interior mental states. The photographs from the work were taken at Lynch’s childhood home and his old school. Using an old press flash, the images have a forensic quality as Lynch searches for physical traces that might reveal narrative potential, whether that be chewing gum stuck underneath a school desk, or flies squished into the wallpaper. 

Céad Míle Fáilte explores how the subject can play an active role in the documentary process. Focused on the Mother Red Cap in Archway, I began to document the community surrounding the pub. Looking at the faces who have been so kind to me on my journey of living in London. I wanted to tell the story of the Red Cap and how it came to be the place that it is today. I have found that sharing integral values and beliefs and well as life experience with my subjects, as an Irish person myself, allows me to portray them empathetically and it gives me an increased engagement of the story I am telling. Not only do I share the heritage within the community, but now we share the experience of living in north London as ex-patriates of Ireland. 

Céad Míle Fáilte explores how the subject can play an active role in the documentary process. Focused on the Mother Red Cap in Archway, I began to document the community surrounding the pub. Looking at the faces who have been so kind to me on my journey of living in London. I wanted to tell the story of the Red Cap and how it came to be the place that it is today. I have found that sharing integral values and beliefs and well as life experience with my subjects, as an Irish person myself, allows me to portray them empathetically and it gives me an increased engagement of the story I am telling. Not only do I share the heritage within the community, but now we share the experience of living in north London as ex-patriates of Ireland. 

Céad Míle Fáilte explores how the subject can play an active role in the documentary process. Focused on the Mother Red Cap in Archway, I began to document the community surrounding the pub. Looking at the faces who have been so kind to me on my journey of living in London. I wanted to tell the story of the Red Cap and how it came to be the place that it is today. I have found that sharing integral values and beliefs and well as life experience with my subjects, as an Irish person myself, allows me to portray them empathetically and it gives me an increased engagement of the story I am telling. Not only do I share the heritage within the community, but now we share the experience of living in north London as ex-patriates of Ireland. 

Céad Míle Fáilte explores how the subject can play an active role in the documentary process. Focused on the Mother Red Cap in Archway, I began to document the community surrounding the pub. Looking at the faces who have been so kind to me on my journey of living in London. I wanted to tell the story of the Red Cap and how it came to be the place that it is today. I have found that sharing integral values and beliefs and well as life experience with my subjects, as an Irish person myself, allows me to portray them empathetically and it gives me an increased engagement of the story I am telling. Not only do I share the heritage within the community, but now we share the experience of living in north London as ex-patriates of Ireland. 

Céad Míle Fáilte explores how the subject can play an active role in the documentary process. Focused on the Mother Red Cap in Archway, I began to document the community surrounding the pub. Looking at the faces who have been so kind to me on my journey of living in London. I wanted to tell the story of the Red Cap and how it came to be the place that it is today. I have found that sharing integral values and beliefs and well as life experience with my subjects, as an Irish person myself, allows me to portray them empathetically and it gives me an increased engagement of the story I am telling. Not only do I share the heritage within the community, but now we share the experience of living in north London as ex-patriates of Ireland. 

‘Just because we are women...’ explores the idea of gender
performativity, in particular how women are socialised into
acting out their ‘femininity’ to find acceptance in society.The project takes a surrealistic approach by displacing objects associated with domesticity as object for beautification, questioning the traditional role of women in western societies with a focus on culture made standards and roles in association to woman’s appearance and their role in the home. The perfecting of their appearance can be understood as putting on a mask to acquire reputation in their communities all whilst being restricted and responsible for the domestic space.

‘Just because we are women...’ explores the idea of gender
performativity, in particular how women are socialised into
acting out their ‘femininity’ to find acceptance in society.The project takes a surrealistic approach by displacing objects associated with domesticity as object for beautification, questioning the traditional role of women in western societies with a focus on culture made standards and roles in association to woman’s appearance and their role in the home. The perfecting of their appearance can be understood as putting on a mask to acquire reputation in their communities all whilst being restricted and responsible for the domestic space.

Contained explores the absurd yet innate human nature to organise and categorise, in
conjunction with a constant mental battle between order and chaos. The concept is not limited
to any singular aspect of life, but the work has taken a particular interest in urban landscape,
architecture, and the human’s relationship to that. This organisation is represented by the idea
of the cube in my work, both physically and metaphorically, and explores the cube in connection
with its surroundings and contexts.

Contained explores the absurd yet innate human nature to organise and categorise, in
conjunction with a constant mental battle between order and chaos. The concept is not limited
to any singular aspect of life, but the work has taken a particular interest in urban landscape,
architecture, and the human’s relationship to that. This organisation is represented by the idea
of the cube in my work, both physically and metaphorically, and explores the cube in connection
with its surroundings and contexts.

“The Art of Being Shy” is a really personal project for the
artist, it is about herself, about a feature of her character
that she has always thought it was a problem.
It is a representation of her shyness and every other feeling that
is related to it into artistic works: in particular the anxiety
and fear that shyness brings to herself. The author thought that
all these feelings transformed into art could help her going
through this period in which her shyness was worse and hard to
deal with.
She focused on elements that she thought defines her as
“different” from the other people, such as the blushing on the
face, the hands used to cover herself or the frenetical movements
of her hands when she finds herself in uncomfortable place.

video of three peoples hands

This series show the marginalized and prejudiced situation of women in the workplace. Despite the fact that gender equality is the dominant value today, inequality between men and women due to stereotypical gender roles still exists. Women are often perceived as taking up too much space in the workplace, and they are seen as more suited to contributing to the family. The project uses humour and dramatic visual language to show the situation of women in the workplace.

Amelanchier blossoms from my parent’s garden. 

The blazing sun and branches in bloom. 

Lichens, no two are alike. 

A white lily from my grandma’s funeral.

The trees in hibernation in December. 

What makes a mother? What would you do if she was gone? Ma is the start of rebuilding our relationship stitch by stitch. 

‘Ma’ is a project which is an amalgamation of textiles and moving images exploring the reconstruction of my
deceased mother. Looking at this piece from a diasporic lens meant incorporating references to our home
country uganda through material making. This project contains a crochet life-sized ‘doll’ which was
approximately 180cm tall. She was made entirely out of red, black, white and yellow DK yarn using a 4mm
crochet needle. Ma was then filled with polyester / acrylic stuffing. I chose to incorporate material making in
my practice as growing up my mother used to sew and make my clothes, when I had an costume idea that we
couldn't find in store. There was a huge amount of joy when my mum spent hours producing something just
to make me happy; consequently, I spent my childhood subconsciously interacting with yarn and needles laying
around the house. When researching different types of yarn I decided to useI acrylic over cotton because this
claimed to have a clearer stitch definition which was important when recognizing the building of Ma. Acrylic
yarn also came in very vibrant colours, which was representative of the Ugandan flag and traditional African
print. Acrylic yarn is also more durable which is right for MA allowing her to have a longer life and similarity a
longer time for me to experience the doll. Lastly, a heart was placed into her new body to signify that final
breath of life abundant with new love.

I grew up in a rural area of Wisconsin, I was raised Catholic and attended a church
service every Wednesday evening when I was in school. Sunday was a ritual that you
didn't miss. During this after school program I watched a student be screamed at for
being trans, and stories of people turning gay from drinking frog infested water in
Germany. My relationship with religion is very critical, experiencing miss information
and constant coercion to conform was the premise for my reflection into religion.
Growing up in the United States, I released that religion was everywhere. We said it in
school every morning during the pledge of allegiance, the word “God” was on all our
money. It made me question how free America actually was when God is in control.
This project aims to re-examine religion, and give a voice to those that its neglected,
to reflect on the society that is based on capitalism and lead by God in the land of the
free.

I grew up in a rural area of Wisconsin, I was raised Catholic and attended a church
service every Wednesday evening when I was in school. Sunday was a ritual that you
didn't miss. During this after school program I watched a student be screamed at for
being trans, and stories of people turning gay from drinking frog infested water in
Germany. My relationship with religion is very critical, experiencing miss information
and constant coercion to conform was the premise for my reflection into religion.
Growing up in the United States, I released that religion was everywhere. We said it in
school every morning during the pledge of allegiance, the word “God” was on all our
money. It made me question how free America actually was when God is in control.
This project aims to re-examine religion, and give a voice to those that its neglected,
to reflect on the society that is based on capitalism and lead by God in the land of the
free.

I grew up in a rural area of Wisconsin, I was raised Catholic and attended a church
service every Wednesday evening when I was in school. Sunday was a ritual that you
didn't miss. During this after school program I watched a student be screamed at for
being trans, and stories of people turning gay from drinking frog infested water in
Germany. My relationship with religion is very critical, experiencing miss information
and constant coercion to conform was the premise for my reflection into religion.
Growing up in the United States, I released that religion was everywhere. We said it in
school every morning during the pledge of allegiance, the word “God” was on all our
money. It made me question how free America actually was when God is in control.
This project aims to re-examine religion, and give a voice to those that its neglected,
to reflect on the society that is based on capitalism and lead by God in the land of the
free.

A cyanotype created using the leaves of a dandelion plant, to focus on the beauty of weeds and how they are misrepresented. 

The constant overconsumption of the female exists in such a pervasive way that it becomes
almost as though we are physically eating the woman through visual culture. I am proposing the
opposite; the woman taking back the eating of herself. Imagine a private space in which women
would consume themselves, but devoid of oversexualization. Here, four women have a picnic in
which each cake and cookie resembles the sexualized parts of their body, in a private space
devoid of oversexualization. Instead of the male gaze eating and consuming the sexualized
female body, they are eating themselves. This version of consumption is playful and

When I was younger I used to dream lucidly. I lay down, looked at the ceiling and in my mind I
would picture small frames above me. Within each frame was a different dream with a different
story to tell. If I decided I didn’t like the dream I was in I would leave that frame and enter
another. As I lie here now, underneath the roof of this house, I look up at the many tiny frames
above me. I can move closer and enter that frame, become part of the narrative, transport myself
into that specific memory. I may not have lived them but that does not seem to matter, I can still
picture myself there, within this different world. The labelling on the slides gives a small amount
of context to help you grasp the world that you’re entering. It may no longer be the ceiling of
framed dreams like I grew up with but rather a house of memories.

What makes a mother? What would you do if she was gone? Ma is the start of rebuilding our relationship stitch by stitch. 

What makes a mother? What would you do if she was gone? Ma is the start of rebuilding our relationship stitch by stitch. 

‘Ma’ is a project which is an amalgamation of textiles and moving images exploring the reconstruction of my
deceased mother. Looking at this piece from a diasporic lens meant incorporating references to our home
country uganda through material making. This project contains a crochet life-sized ‘doll’ which was
approximately 180cm tall. She was made entirely out of red, black, white and yellow DK yarn using a 4mm
crochet needle. Ma was then filled with polyester / acrylic stuffing. I chose to incorporate material making in
my practice as growing up my mother used to sew and make my clothes, when I had an costume idea that we
couldn't find in store. There was a huge amount of joy when my mum spent hours producing something just
to make me happy; consequently, I spent my childhood subconsciously interacting with yarn and needles laying
around the house. When researching different types of yarn I decided to useI acrylic over cotton because this
claimed to have a clearer stitch definition which was important when recognizing the building of Ma. Acrylic
yarn also came in very vibrant colours, which was representative of the Ugandan flag and traditional African
print. Acrylic yarn is also more durable which is right for MA allowing her to have a longer life and similarity a
longer time for me to experience the doll. Lastly, a heart was placed into her new body to signify that final
breath of life abundant with new love.

i_kiss_your_lips is a short film surrounding all things makeup, cute and pink. It features glitched archival footage of
makeup tutorials found online paired with sounds from the night-core aesthetic. The piece toys with the idea of digital
interference and corruption, hyper-focusing on the element of advertising and beauty in the online influencer scene in
response to the lyrics within the song.

glitcehd images of lips taken from makeup tutorials

The constant overconsumption of the female exists in such a pervasive way that it becomes
almost as though we are physically eating the woman through visual culture. I am proposing the
opposite; the woman taking back the eating of herself. Imagine a private space in which women
would consume themselves, but devoid of oversexualization. Here, four women have a picnic in
which each cake and cookie resembles the sexualized parts of their body, in a private space
devoid of oversexualization. Instead of the male gaze eating and consuming the sexualized
female body, they are eating themselves. This version of consumption is playful and

The constant overconsumption of the female exists in such a pervasive way that it becomes
almost as though we are physically eating the woman through visual culture. I am proposing the
opposite; the woman taking back the eating of herself. Imagine a private space in which women
would consume themselves, but devoid of oversexualization. Here, four women have a picnic in
which each cake and cookie resembles the sexualized parts of their body, in a private space
devoid of oversexualization. Instead of the male gaze eating and consuming the sexualized
female body, they are eating themselves. This version of consumption is playful and private, and
you as the viewer are intruding upon their private moment, you are the male gaze.

data gardens is a video essay addressing digital capitalism through a new cyberfeminist lens.  
The work explores digital technologies within our collective ecologies, and the internet as a space for radical socio-political change.  
Every element of the work has been created in collaboration with open-source artficial intelligences. The script has been written in collaboration with GPT-3. The visual content has been generated using VQGAN+CLIP. Original music has been generated with Jukebox. AI has been applied in the editing process, and the narrative voices are also AI-generated.

Gardens are full of possibilities. Teeming with life, the soil is infinity underfoot. In this garden, oddities and glitches appear freely. New forms and beings emerge vividly, and knowledge thrives. What grows here bonds us closer to our world each day. each creature has its role, its contribution. each form is wild and free to create. Everything in the garden is interconnected at the core. Here, we flourish and wither below the same sun. Gardens are commons - or at least they used to be. Commons are undivided shared space, not the property of any one person, being, ideology, or corporation. They are used for growth, essential for our collective development and wellbeing. Commons are not just places. Commons can look like anything. They can exist anywhere everywhere. They can envelop all belong to all. By belonging to all, a common belongs to none. It is not to be taken for one. These principles apply to thought, too. That is to say, ideas, technology, knowledge which belongs to all. Our garden is a collision. It exists everywhere, anywhere. It is acres and acres of information, an infinite envelopment of fertile land and ideas. What grows here is strange and lush. We grow here in symbiosis. When we harvest here, we share without bounds. Our garden is a commons. Or it used to be. Since the rise of capitalism, theft of commons has been a keystone of its power. It's no surprise that this one was taken too. It's easy to forget if it was ever free at all. Vivid new lives are moulded into extensions of those in power. They reach into every door they can find in our infinite world. Here the doors are infinite. The paths to explore and ruin are infinite. They scrape and suck the information from the ground until it is bare. Here it is tangled and deranged. Here it consumes. It does not act of its own accord. Here we remain, growing to wither. It doesn't have to be this way. We are all caretakers. These idiots, these thieves; they don't care about our garden. But we do This is the soil beneath our feet, our infinite possibilities of growth and connection. The soil is sick. the flowers don't grow as they used to, but we do. When we engage critically with the systems surrounding us, and genuinely with the roots underfoot, our future leaves unfurl. When we resist, when we reclaim, the system weakens. Our roots are not gone. This garden, this technology, these connective systems, belong to all and none. We must ensure a fruitful harvest for all.

Dream TV is a 3D animation that explores the realm in which dreams are created and how our unconscious self is able to fabricate textures, places and people. 

You're watching a channel 13 production. Welcome to...Dream TV. But it's only a dream But it's only a dream But it's only a dream But it's only a dream... right? But what happens to a dream? Does it sag like a heavy load? or does it explode?

The constant overconsumption of the female exists in such a pervasive way that it becomes
almost as though we are physically eating the woman through visual culture. I am proposing the
opposite; the woman taking back the eating of herself. Imagine a private space in which women
would consume themselves, but devoid of oversexualization. Here, four women have a picnic in
which each cake and cookie resembles the sexualized parts of their body, in a private space
devoid of oversexualization. Instead of the male gaze eating and consuming the sexualized
female body, they are eating themselves. This version of consumption is playful and private, and
you as the viewer are intruding upon their private moment, you are the male gaze.

The constant overconsumption of the female exists in such a pervasive way that it becomes
almost as though we are physically eating the woman through visual culture. I am proposing the
opposite; the woman taking back the eating of herself. Imagine a private space in which women
would consume themselves, but devoid of oversexualization. Here, four women have a picnic in
which each cake and cookie resembles the sexualized parts of their body, in a private space
devoid of oversexualization. Instead of the male gaze eating and consuming the sexualized
female body, they are eating themselves. This version of consumption is playful and

A Patch of Blue is a personal reflection on family, ageing and finding certainty in the midst change. In the last few years, time passed in peculiar ways and the world turned in unexpected directions; during this time my awareness of mortality and time passing was heightened.

To create the correct photographic exposures and collect the desired plants, the process takes time and is dependent on weather forecasts and seasonal cycles.
The body of work, which is embedded within the family narrative, meditates on nature's microcosms in an attempt to discuss insecurity, humanity, and larger, more complex questions about life.

A Patch of Blue is a personal reflection on family, ageing and finding certainty in the midst change. In the last few years, time passed in peculiar ways and the world turned in unexpected directions; during this time my awareness of mortality and time passing was heightened.

To create the correct photographic exposures and collect the desired plants, the process takes time and is dependent on weather forecasts and seasonal cycles.
The body of work, which is embedded within the family narrative, meditates on nature's microcosms in an attempt to discuss insecurity, humanity, and larger, more complex questions about life.

A Patch of Blue is a personal reflection on family, ageing and finding certainty in the midst change. In the last few years, time passed in peculiar ways and the world turned in unexpected directions; during this time my awareness of mortality and time passing was heightened.

To create the correct photographic exposures and collect the desired plants, the process takes time and is dependent on weather forecasts and seasonal cycles.
The body of work, which is embedded within the family narrative, meditates on nature's microcosms in an attempt to discuss insecurity, humanity, and larger, more complex questions about life.

A Patch of Blue is a personal reflection on family, ageing and finding certainty in the midst change. In the last few years, time passed in peculiar ways and the world turned in unexpected directions; during this time my awareness of mortality and time passing was heightened.

To create the correct photographic exposures and collect the desired plants, the process takes time and is dependent on weather forecasts and seasonal cycles.
The body of work, which is embedded within the family narrative, meditates on nature's microcosms in an attempt to discuss insecurity, humanity, and larger, more complex questions about life.

‘Meri Jaan’ in Urdu means ‘my life’ but is more commonly a term of endearment to describe a
loved one.
The short film follows the journey of reconnecting with heritage through the relationship between
mother and daughter.
The viewer plays witness to the uncovering of archival images and an intimate conversation with
my mother who was born and raised in Pakistan.
In order to learn more about my culture and create a narrative of Pakistan coherent with my
mother’s story, the question proposed is,
’How can you stay connected to a country you haven't been to in over two decades?’

What happens when we are truly left alone with ourselves in an age when we are accustomed to complete information overload? This durational performance piece informed by ‘Everywhere at the End of Time’, an album by The Caretaker, investigates a loss of identity within the context of virtuality.

What will the future hold as the virtual and the actual continue to integrate? This single channel moving image work explores the conflicts of identity and reality that such societal shifts may elicit through traditionally photographic post production techniques, in combination with an AI rotoscoping software called EbSynth and additional VFX.

video recording of 3d sculpture in a studio space overlayed with complex projection mapped colour 

Tracing London, 2022, consists of a series of thirteen photographs (colour and b/w) that explore concepts of materiality and embodiment, time and place. By focusing on the overlooked and the unnoticed, the disregarded background of modern contemporary life comes into prominence. 

Interacting with the world via a viewfinder enables an awareness of our existence in it while also facilitating the process of capturing visible traces of personal encounters. Susan Sontag wrote that a photograph is 'not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stencilled off the real, like a footprint.' ("Image-World" 154). Through the photographic examination of the marks and textures on surfaces, I have read London's urban landscape through the traces of past activities, enabling me to develop a sensitivity and familiarity with the places I inhabit every day.

this model is by Tafil Namuri, it is under CC0 licensing. access at: https://www.blenderkit.com/asset-gallery?query=author_id:167698

Tracing London, 2022, consists of a series of thirteen photographs (colour and b/w) that explore concepts of materiality and embodiment, time and place. By focusing on the overlooked and the unnoticed, the disregarded background of modern contemporary life comes into prominence. 

Interacting with the world via a viewfinder enables an awareness of our existence in it while also facilitating the process of capturing visible traces of personal encounters. Susan Sontag wrote that a photograph is 'not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stencilled off the real, like a footprint.' ("Image-World" 154). Through the photographic examination of the marks and textures on surfaces, I have read London's urban landscape through the traces of past activities, enabling me to develop a sensitivity and familiarity with the places I inhabit every day.

this model is by Tafil Namuri, it is under CC0 licensing. access at: https://www.blenderkit.com/asset-gallery?query=author_id:167698

this model is by Tafil Namuri, it is under CC0 licensing. access at: https://www.blenderkit.com/asset-gallery?query=author_id:167698

this model is by Tafil Namuri, it is under CC0 licensing. access at: https://www.blenderkit.com/asset-gallery?query=author_id:167698

this model is by Tafil Namuri, it is under CC0 licensing. access at: https://www.blenderkit.com/asset-gallery?query=author_id:167698

A mothers love when lost is something you go searching for. The type of comfort leaves a part of you missing. rebuilding out relationship stitch by stitch, so I don't go without Ma again