The Oxford Brookes Student Art Collection has been established to collect and make accessible a vibrant and rich collection of art and design work from Oxford Brookes students.
In 2016 - our inaugural year of collecting - we purchased work from the final year Oxford Brookes Degree Shows in Architecture and Fine Art.
Up to 10 students from each programme were nominated to have their work selected by a VIP panel, which included senior management at Oxford Brookes and external professionals.
Selected work will be held in the collection and periodically placed on display around the University.
Where the work is a physical piece then it is registered here alongside representative images. Where the work is a digital piece then the whole work or a portion of it is included.
Copyright and licensing
This collection is Open Access, meaning the full-text files of the items in the collection are freely available for anyone to view. Please note that each item may have a specific license for the use and distribution that is allowed for that item.
Please use the options below to browse the collection:
Chalk & Flint embodies the physicality of walking and is conceptually centred around an encounter with place, shown with the selection of geographically specific materials. Two of the films show the artist passing a rope through the drilled centre of a piece of chalk, filmed from two separate viewpoints. The other two films show the artist performing the same process with a piece of flint, filmed again from the same two viewpoints. This repetitive action measures the materiality of the stones in the presence of time and movement. The cutting edge of the flint brings about the demise of the rope, while the softness of the chalk gives way as the hemp fibers are passed through it. The rope is a cutting device and a material to be cut. The layering of dust on the floor records the passing of time, while the markings on the body provide a testimony to the physical endurance of grappling with the unwieldy weight of the stones. This is a work that is very much about experience and process. The performance ends when…
Transcendence explores memory, loss, sentimentality and vulnerability. It investigates the act of ‘moving on’ taken from Buddhist thought.
The four videos explore the four stages of grief: crying, suffering, letting go and moving on. Poon is interested in the concept of the spiritual journey - the healing process that goes beyond the experience of loss. The number four has special significance given its association in Western culture with cycles, stability and positivity. A square has four sides. There are four seasons in the annual cycle of growth. The number four is a Biblical symbol of completion.
Trace forms part of a series of work that explores the complex relationship between absence and presence via the medium of the artist’s body. Powders are applied to the artist’s skin to leave traces of the human body, resulting in mysterious and haunting images that memorialise what was once present. Coble’s interest in the themes of loss and decay, and in particular the curious simultaneity of absence and presence, have been influenced by poetry and philosophy.
The Ration Department of Whitechapel explores the growing issue of food wastage on both a local and a global scale, proposing the rationing of food production and distribution to avoid unnecessary waste.
The building facilitates the queue for a ration book, whilst also serving as a distribution point. The orthographic drawings show the queuing route wrapping around the building, allowing users to join a ‘one-stop’ queue in order to engage with various government services.
The top floor serves as a government printing press working with traditional linocuts to print ration books and propaganda posters. The time spent in the queue allows visitors to observe their surroundings. The lino-cladded walls display information on healthy nutrition and food waste, while the exterior cladding shows material promoting the available services and the benefits of rationing.
Wake explores the many different ways in which water can act on the body. It abstracts and distorts, creating illusions and new textures. There is a quietness, an ‘other-worldliness’, to the substance of water; it is a constantly changing lens, reflecting and refracting reality. Water creates a film - a barrier between reality and the distorted dream world, the sunken female figure acting as the submerged human unconscious. This work exploits the tension between tranquillity and unease, push and pull, immersion and separation, ebb and flow.
Shepard’s artistic practice is instigated through mark making, using loose lines to create form. Although the work is predominantly figurative, Shepard chose to blur the line between abstraction and the representational pictorial plane.
Manufacture illustrates the pressure put upon women to adhere to the modern construct of femininity. The female body is shown to be constrained, manipulated and artificial, bound by a false ideal of beauty. The artist uses her own body in her practice to explore this elaborate masquerade. She often models items of clothing designed and made by herself to highlight the strain and discomfort involved in being a woman. For Holmes, to be born a woman is to be born within an allotted and confined space. Taught to continually survey herself and persuaded to loathe what she sees, a woman can have no true freedom with her body.
Neil Armstrong is an allegorical miniature proposing commonality between scientific and creative exploration. It forms part of a series of miniatures that present classical heroic archetypes. For Burdock, astronauts and artists find themselves in comparably insupportable positions. While they inevitably want to communicate the results of their unique activities, they do so in a way that is out of touch with society, mired in intellectualism.
Writer’s Retreat is a pavilion design for a writer-in-residence in Deptford, London. Shaped by the environment to form three unique studios with different views, interiors and sound qualities, the pavilion is designed to counteract writer’s block. The site provides an opportunity to engage with the debates surrounding culture-led redevelopment, established communities and regeneration in deprived areas.
With a view over Deptford High Street, the writer observes a place that, three times a week, is transformed from quiet street to bustling urban market, offering everything from toilet rolls to evening gowns. The pavilion invites the public to sit down and step away from the commercial market, whilst listening to the life of the street as a storytelling space.
Blue Planet Biophilia is a collection of final drawings, diagrams and renders that explore how water can be integrated into the workspace to benefit workers’ wellbeing. According to biologist E. O. Wilson, ‘Biophlia’ refers to an innate and genetically determined affinity of human beings with the natural world. These designs show how water can provide natural ventilation and a more ‘biophilic’ atmosphere.
With sites in both London and Barcelona, Dechow focuses on designing spaces where the user is surrounded by both the physical presence and the natural acoustics of water. The final design shows an ocean-plastic recycling hub with an adjoining design studio on the coast of Barcelona. Giant cones bring the rolling, crashing and lapping acoustics of the water beneath the building up into the workspace, where designers can sit and work surrounded by ocean views, and the comings and goings of the Mediterranean fishermen.
Recycling Surplus Factory examines how the value of urban material can relate to the fabric and lifespan of a building. Deptford Market as a source of the material becomes an integral part of the design, and rooms for processing waste are raised over the market on concrete pillars.
Deptford Creek is unique in London for its post-industrial character and tidal waters that result in high flood risks. As such, the perceived value of each service provided in the building is reflected hierarchically in the floor plan. Services with less value are closer to the ground, while high value activities and archives are on the top levels – clear of the high water marks and therefore safe from flooding. This ranges from shredding paper at one level, to collecting documents of high cultural value on the highest floor.
Each part of the building has a certain purpose and lifespan and this becomes apparent in relation to the use of different materials – wood has a lifespan of 30-50 years, and concrete 200-400 years.