FAT Project

ceramics, FAT Project, Personal Projects, The Kiln Rooms/Ceramic works

I want to further develop my ideas around my body, how it feels to inhabit a fat body, and a non-binary body, and how it is viewed by the outside world. I still need to upload my FAT zine on here, which I want to make as a digital version as well, and continue on in that vein. As part of this I began making a sculpture a few months back in The Kiln Rooms, which I need to finish sculpting and then fire and glaze.

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Above: photos of the sculpture in progress- it is hand sculpted from white stoneware clay, and is a self portrait based on photos I took of my own body in the same pose (which I won’t upload here, for various reasons). I need to work on the legs, feet, and boobs a little bit more, but I am planning to leave it headless and arm-less, as I want to concentrate more on main body, and I quite like that it resembles a broken classical marble sculpture. When I have finished sculpting it I plan to fire it and glaze it with a white satin glaze, to give it the silky white texture and look of a marble sculpture.

I started making this as a way to come to terms with the reality of how my body really looks- selfies and photos taken by others often aren’t 100% honest depictions and I wanted to challenge myself to see myself in a more objective way, to help build on the vein of self love and acceptance I have been working so hard to cultivate. I am hoping to make more of these small maquettes, in different poses, as part of this. It also got me thinking- its’ resemblance to a classical marble sculpture made me realise we so rarely anything other than idealised versions of the human form in art, and particularly in sculpture. Even artists who sculpt self portraits and cast from life tend to be able bodied and cisgender, with conventionally attractive or at least socially acceptable bodies. I think it would help a lot of people who don’t fit these margins to see bodies more like their own represented in museums and galleries, as we have always existed but are too often left out of art and history for conforming.

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Above: images of works by Marc Quinn, exploring the bodies of disabled people, taken from his website

I am particularly inspired by the work of sculptor Marc Quinn, who has sculpted people with different disabilities. However as someone who identifies as disabled (due to my long term mental health issues) I find it somewhat uncomfortable that someone who is not disabled is making work about it. This is because it almost feels voyeuristic, and a little bit like fetishisation, although I’m sure it isn’t meant to come across this way. I do enjoy the idea of having these unconventional bodies created in this particular medium and put on display in gallery and museum settings- as I think representation and diversity are super important; but I think more needs to be done to elevate disabled artists and give us our own platforms to create, share, and display our works. This is a systemic issue in the art world that needs to be tackled and discussed by all of us. I would like to create work that explores and celebrates diverse bodies in a way inspired by this, but from the perspective of someone who actually has a body that doesn’t fit the norm.

As well as my FAT zine I also created the video “I Can’t Help the Way I Feel (My Fat Body)” in response to the sculpture “I Can’t Help the way I Feel” by artist John Isaacs, pictured below, and the drawing workshop  of the same name. This thread is something I am keen to continue exploring through various mediums, as it is important to me and a part of my journey in self love and self growth.


I think further research and exploration into the subject needs to be done, which I am going to endeavor to do in my own practice going forwards with this project. I plan to start by visiting art galleries/museums to examine classical sculptures- I want to do some drawings and take some photos for inspiration and see where that takes me.

Olafur Eliasson: In Real Life at the Tate Modern

Exhibition Reviews

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I have been a fan of Eliasson’s work since I first saw one of his pieces in person as part of the exhibition Light Show at the Hayward Gallery a few years ago, so naturally I had to go to his solo show at the Tate Modern.

I particularly liked how interactive some his works are, and that some of them specifically rely on audience interaction and participation in order to work- I think this kind of engagement in works of art is key for artists who wish to make their work more accessible to a wider audience. Also being able to participate and interact with the works makes them more enjoyable- you are no longer just a passive viewer but actually a part of the work and this turns it into an experience that the audience will remember.

I was also interested in the display of tests, experiments and maquettes; it is fascinating to see how these have then become full scale pieces and they are beautiful in their own right. I’m really keen on exploring the artist processes but often in exhibitions you don’t get to see any of the work, research, or processes that goes into creating the works on show, so it was inspiring and exciting to see this in such a high profile exhibition. I also liked that these took up the first room of the show as it felt like an insight into the artists’ mind and thinking/making process, before moving on to see some of these fully realised in later rooms.

There was a real sense of playfulness in a lot of the works which really spoke to me, as art displayed in galleries can often feel quite self important and frankly a bit boring- I loved being able to dance in front of the lights, walk through the tunnel of mirrors, peer through the wall at my friend on the other side as our faces became distorted, and get lost in the room full of fog (although it was quite disorientating which I want to discuss further). Art that allows for fun and silliness is always far more memorable to me, as I remember the feelings and experiences for far longer than I would probably remember a static piece of art. The way he utilises mirrors, shapes, and the manipulation of light is incredibly clever and somehow just as dazzling in person as it is in photos.

I want to talk about accessibility a little bit. Whilst most of the spaces in the gallery could be navigated by visitors in wheelchairs, or with other mobility aids, the mirror tunnel (Your Spiral View) unfortunately can only be accessed by steps, which is a shame.
A solution could be to install ramps either side instead of steps- which seems like an incredibly simple solution that I am frankly surprised they did not think of. As well as this some of the other works that are best enjoyed by looking through them are not at a height that wheelchair users could access- some of them might be difficult to replicate and have at a more accessible height, but it is definitely something to consider when creating or installing works with this kind of interaction in mind. Even though there were only a few pieces that were not fully accessible for those with mobility issues it still could affect many visitors enjoyment and experience of the exhibition as a whole. It should also be mentioned that most of the works rely heavily on vision, so those with vision impairments will not get much out of a lot of the works on display. I know that art is a predominantly visual medium but I feel that we should be working towards making art as accessible as possible, and one of the way we can do this is through engaging other senses, such as touch and sound, for example. Some of the works that use water have sound, but for the most part the works are silent, and untouchable. 

I found the fog room (Your Atmospheric Colour Atlas) quite overwhelming due to the temperature, the tight space, and not being able to see properly, so this could pose an issue for people with anxiety or sensory issues, and I found Big Bang Fountain very difficult to spend too long with, again because of sensory issues- it could also prove to be an issue for those with photosensitive epilepsy. Whilst both works are playful and fascinating I think it’s crucial to bring up these issues for discussion so that we, as artists, can consider the impact our work will have on others. I am not saying we shouldn’t make certain kinds of work, but it is imperative that we have these discussions and are aware of the impact it could have.

I was lucky enough to go on a day and time that was quieter, so I was able to experience the exhibition in a much more personal way, which was especially helpful for the works that did make me anxious and cause sensory overload, however I can imagine on a busy day that it would be incredibly overwhelming for people like myself with anxiety/sensory issues. I have been thinking about how difficult a busy day would be for not just people with these issues but again for people with other disabilities and difficulties, and how this might put a lot of people off visiting bigger art galleries and museums. I feel that it is a topic that again needs discussion, but this time not between artists and people with different needs, but between curators and managers of galleries/museums and people with different needs. Limiting entry and timed tickets is of course one way to do this, but it still feels like they oversell tickets a lot of the time to the point where the gallery space is still far too crowded. I wonder if specific days and time slots could be reserved for disabled/neurodivergent people, so that we could experience the exhibitions in our own ways, or if this would feel like we are being excluded from the space when other people are there? It is a tricky topic and something that would need research and time put into in order to come up with a solution that would work best for everyone.

Whilst on the topic of accessibility I feel I have to mention the cost- at £18 per person for a standard ticket, or £17 for concessions, this exhibition is NOT for people on a budget. Children under 12 go free- but when the adults accompanying them are paying so much it really is not affordable for many people. If we truly want the art world to be more accessible to everyone, not just those who can afford it, we need to make exhibitions like this cheaper (or ideally free). I won a Tate Pass for a year as part of my work with the society I set up and ran at uni and if it wasn’t for that myself and my friend who accompanied me would not have been able to afford to go. We are lucky here in England that the main collections of many art galleries and museums are free to visit, but a lot of working class and disabled people do not see themselves represented in the older works of art shown or find them engaging. If we want more people to engage with the arts the works shown In Real Life at the Tate are crucial- as they can expand people’s ideas of what art is and should be- but when exhibition entry fees are so high this prices a huge group of people out who would otherwise really enjoy it and get a lot from it.

So, in conclusion- not at all accessible in terms of cost, and some of the works are particularly inaccessible for the groups of people I have mentioned. Is it beautifully curated and full of stunning work? Absolutely. Is it perfect? No. British art institutions letting down working class and disabled people, as usual.

Research Into Creating For Wider Audiences

Accessibility Project, Internship at 3rd Rail

Dyslexia Friendly 

Key Points:

  • choose a more legible font- i.e. Arial, Comic Sans, Calibri, Open Sans (Sans Serifs preferable)
  • High contrast between text and background
  • larger font sizes and slightly bigger spaces between letters and words, and between lines of text (kearning/tracking/leading)
  • Off white neutral backgrounds with minimal patterns or pictures work best
  • Avoid uppercase/all caps/italics/underline, use bold if emphasis is needed
  • avoid green and red/pink as these are difficult for people with colour blindness
  • matt paper


Key Points:

  • tactile reading and writing system for visually impaired, blind, or deaf blind people
  • Braille symbols are formed with a matrix of up to six dots called a cell- a cell can be an individual letter, punctuation, number, or a whole word
  • uncontracted Braille- every letter is individually spelled out
  • contracted Braille- is like a form of shorthand Braille used for faster reading and to save paper
  • https://www.brailletranslator.org/

– These are books made for blind and visually impaired people, with the illustrations raised so that they can be touched and felt

– a helpful breakdown of the basics

Conductive ink
– could screenprint in conductive ink, creating an electrical circuit- this could be used to make my prints “speak” or something else?

Things I could try/consider for future print based works

  • could try printing and applying different textures to my work- flocking, foiling, or using puff binder? This would mean my prints are more tactile
  • print on off white paper and be mindful of colours used
  • print in Braille?
  • choose fonts that are easier to read
  • making larger scale prints than I normally would, to aid legibility

This is just some research to lay the ground work for the project, but I think it’s a good start and there is already a lot to think about and potentially experiment with!

Dirk Braeckman at Bozar

Exhibition Reviews, Research for River Project (White)

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Photos by myself

“Dirk Braeckman was invited to the 57th Biennale di Venezia, where he showed a selection of monumental works in the Belgian pavilion. His black-and-white photographs convey a sense of stillness, and combine intimacy and distance to create a private, secluded world whose meaning remains undefined. For BOZAR, Braeckman adapts the project to the architecture of Victor Horta. From Venice to Brussels, from one iconic interbellum building to another.

In parallel, the M-Museum Leuven presents a complementary exhibition on Dirk Braeckman from 02/02 to 29/04/2018. The starting point of this double project was the exhibition of Dirk Braeckman at the Belgian Pavilion during the Venice Biennale 2017.” –https://www.bozar.be/en/activities/128185-dirk-braeckman

Whilst in Brussels this Spring break I came across an exhibition of work by Dirk Braeckman. I had not heard of him before, and after seeing this exhibition I can say I am definitely a fan of his work.

the photos I took don’t really do the works justice- they were huge, and despite being under or over exposed had a lot of detail that could be seen close up. His work had a voyeuristic feel, like peering in and getting glimpses of a strangers life, and the subjects felt both familiar and unfamiliar at the same time, like a distortion of every day life and reality. Whilst at the exhibition I wrote in my notebook:
“haunting, each image is both familiar and unfamiliar, a distortion of reality and the everyday”
“the sea prints are calming and serene”
“The women, with their obscured bodies, seem like ghosts, not wholly present, but a faint memory”
and “The mundane shifts, becoming almost unrecognisable to the viewer”

I often find myself drawn to works that take everyday subject matter and transform them, or shows them from a different perspective, and I felt that connection to his work and my own, even though the mediums are different.

Visit to Rafael Klein’s Studio



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We visited the artist Rafael Klein’s studio space on the 6th February, to see how and where he makes his work. He discussed various public projects that he has been commissioned on- for example the maple leaves outside the Nag’s Head in Peckham, and his artistic practice, and juggling the various aspects working as an artist. His process involves filling entire sketchbooks, before selecting drawings to work into and take further- although some pieces starts as digital drawings done on his Ipad. He also takes commissions on videos made of his Ipad sketches- some are time-lapses and others are animations. We got to see his collection of artist books, all designed by him, and this was part of his practice he seemed most excited to talk about- it has rekindled my own interest in artist books, and I think I might put one together at the end of my river project to showcase all of the work I have made as part of it. As well as rekindling my interest in artist books I realised that I miss drawing, so that is something I want to try and do more of- I plan on attending the life drawing sessions held at uni on Mondays, and I want to do more observational drawings whilst I’m out too, as a way of generating ideas and waking up my creativity on the days when I am struggling with my mental health.

I have included photos of some of his work, in his garden, and his studio space above.

Video Game Inspo Pinterest Page and Gender Survey

Research for Perfect Victim, Work in Progress

Pinterest link

Gender Presentation and Discrimination Survey 

The top linked page is for visual references for the Perfect Victim video game project- I have played two games so far (Depression Quest and Dream Daddy) and taken screenshots and made accompanying notes on this Pinterest page, each with their own sub-section. I have also pinned visual references for the character creation I hope to include in my game, and other visual references from other games and artists for scenery/backgrounds/ect. This is so that once I find an illustrator and games designer/programmer to collaborate with they can see my inspiration and visual references collected in one place, as well as something for myself to refer back to.

The second link is for a survey I created as part of my research for this game, looking into how gender presentation can lead to discrimination (or not). I hope to see if people feel that how they present regarding gender (i.e. if they look more masculine or feminine) affects how they are treated by others. This is so that I can incorporate first hand experiences into my video game, to make it more realistic. I also need to write up a series of questions to ask women of colour, trans women, and people of other genders who present as more feminine(or who used to), in one to one interviews. I already have a few people who have volunteered to be interviewed, so I’m hoping these interviews will give me vital primary data and experiences to work into the game. I will ask the Student Union if they can do a mass email to UAL students and share my call for interviewees on social media so that I can reach a wider audience than just my current social circles.


  • Play the other games as research (screenshot and make notes during this)
  • Write up a series of questions for the one to one interviews
  • Get a call put out for interviewees so that I can start interviewing people asap
  • review the responses to my survey
  • Continue character write ups
  • Draft key scenes for the game
  • Find collaborators


WIP- White: The Gallery Space, and the Classism and Racism of the Art World

Research for River Project (White), river project, Work in Progress
  • Discuss my own work- why I chose white, and how the audience’s perceptions would be different if I had presented the original objects in the gallery space (photos of my work in the gallery space
  • Rachel Whiteread’s use of white concrete and other white materials in her work (photos from the Tate Britain retrospective)
  • ‘The Whiteness of the Whale; Moby Dick’ discuss this chapter and quote how it describes white:
    -‘In many natural objects, whiteness refiningly enhances beauty, as if imparting some special virtue of its own’
    -‘This same hue is made the emblem of many touching, noble things- the innocence of brides, the benignity of age’
    -Native Americans are described as “Red Men of America” – this is an old work of fiction, and is impacted by the racism of the time
    -He also acknowledges that white has negative connotations- ‘Witness the white bear of the poles, and the white shark of the tropics; what but their smooth, flaky whiteness makes them the transcendent horrors they are? That ghastly whiteness it is which imparts such an abhorrent mildness, even more loathsome than terrific’
    -‘The common, hereditary experience of all mankind fail to bear witness to the supernaturalism of this hue. It cannot be well doubted, that the one visible quality in the aspect of the dead which most appals the gazer, is the marble pallor lingering there’ – white has a deep link to death
    -‘Or is it that as in essence whiteness is not so much a colour as the visible absence of colour, and at the same time the concrete of all colours’
  • Adolf Loos- ‘Ornament and Crime’
    -The racism- comparing Papua New Guinean tribes to children and criminals, and later ‘Are we alone, the people of the nineteenth century, supposed to be unable to do what any Negroe. All the races and periods before us have been able to do?’ (Speaking of the apparent realization that the people (meaning white people) of the nineteenth century found themselves unable to produce ornamental designs. (The lecture was originally given in 1908)
    -‘The evolution of culture is synonymous with the removal of ornament from utilitarian objects.’ The idea that plain things are better definitely arose during the industrial revolution- everyone needed things faster, and objects with no ornament could be produced even more quickly. But he also talks of ‘peasants’ ‘in the country’ as holding on to objects of past centuries, I would argue because they cannot afford new things- he shows disdain for lower classes as well as people of colour
    -‘We have art, which has taken the place of ornament. After the toils and troubles of the day we go to Beethoven or to Tristan. This my shoemaker cannot do. I mustn’t deprive him of his joy, since I have nothing else to put in its place.’ Here we see him discussing his shoemaker, and how the shoemakers’ only joy comes from ornamenting his shoes with decorative patterns- it is incredibly patronising to the working class, as he is stating that they cannot enjoy art, they can only derive enjoyment from the job they perform for the upper class
    -‘Absence of ornament has brought the other arts to unsuspected heights’
    -‘Freedom from ornament is a sign of spiritual strength. Modern man uses the ornaments of earlier or alien cultures as he sees fit. He concentrates his own inventiveness on other things’

EDIT- References looked at Summer 2018

Depression Quest Play-through and Analysis

Research for Perfect Victim

depression q1.png

The beginning of the game, Depression Quest. The coloured options at the bottom are your possible reactions/interactions, and these vary depending on the route you choose as you play this game. The red option with the line through it means you cannot choose it, and depending on the route you choose throughout the game, more or less or the options become red.

depression q2.png

The grey boxes at the bottom give you information about your situation throughout the game-play – if you decide to see a therapist or try medication or adopt a cat (all options in the game) then this is reflected in the grey boxes at the bottom of the game.

depression q3.png

I think what struck me with this game is that as this part explains- nothing has really “happened” to the main character to cause the depression, it just sort of crept up on them, which is often what happens in real life- it hits home to the player that this really can happen to anyone.

depression q4.png

This is the part of the game where you have the opportunity to adopt a kitten, which if you say yes helps you to take care of yourself and the kitten, but if you decline nothing really changes. I felt that this was a powerful moment in the game, as it shows that sometimes even small things can make a huge difference to our wellbeing.

depression q5.png

This is one of the scenes that comes about if you choose the “bad” route, which can mean the end of your relationship. As you can see there are a lot of red options that you cannot choose- because of the negative options you have previously picked leading up to this moment.

depression q6.png

The “bad” ending, which I got to by choosing all the “negative” options throughout the game, it shows how difficult it can be dealing with mental illness on your own, and the toll it can take on your life.

Whilst this game is not visually engaging it is well written and tells the story well. I think it is a fairly accurate depiction of depression, from my own experiences, and it could be used as an educational tool for people who have not experienced depression if they wanted to try and understand what it is like to live with. I think I would like my game to be educational and well written, like this game, however I would like to make mine more visually engaging and stimulating for the player, with more interactive options. I feel this would open it up to people who cannot or prefer not to read large blocks of text, and would help to keep players interested as they play the game.

Dream Daddy Play-through

Research for Perfect Victim

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Some screenshots from my first play-through of the video game Dream Daddy. I particularly like the character creation menu, especially as you can choose to be trans or cisgender, which is something I would like to have as an option in my own video game. The dialogue options are also well thought out, and make the game much more engaging- I like being able to choose what kind of personality my character has, and I like that this influences how other characters interact with you- this is something I really want to make key to my own game.

The visual style is also something I would like to emulate in my game as it is beautiful to play, and I hope I can find an illustrator with a unique style to help me realise my vision, as I do not think I could produce illustrations of such a high quality myself.

Bibliography in Progress for “Perfect Victim”

Research for Perfect Victim, Uncategorized

























Girl, 4, raped by her brother, 12, who had large amount of porn on his phone
















Clothes accompanied by victims’ stories shine light on sexual assault at KU exhibit




















View at Medium.com

EDIT- Further Research done Summer 2018