https://arteduculture.co.uk arteduculture Mon, 05 Oct 2026 15:10:42 +0000 https://arteduculture.co.uk en https://arteduculture.co.uk/Home Fri, 10 Mar 2023 11:52:58 +0000 arteduculture https://arteduculture.co.uk/Home https://arteduculture.co.uk/Information Fri, 10 Mar 2023 11:52:58 +0000 arteduculture https://arteduculture.co.uk/Information MA Art Education, Culture and Practice The MA examines the relationship between art practice, culture and pedagogy and enables students to develop innovative approaches to educational research across sites for education, such as art colleges, schools, galleries and alternative or DIY spaces for art education. Located in our Bloomsbury studios, the programme fosters a supportive and critically engaged community, centered around practice-based research. Students gain access to our network of educators, artists, curators, and public programmers, who provide professional insights to the field and the course embeds opportunities for practical experience in a range of contexts from galleries to schools. The programme has a strong alumni network who go on to influence the expanded field of art education. Please explore here the research of recent graduates and alumni from the programme. For any enquires about the course please contact Josephine Borradaile j.borradaile@ucl.ac.uk <img width="3000" height="1527" width_o="3000" height_o="1527" data-src="https://freight.cargo.site/t/original/i/aa9b8e9419994dcc59d3db27d352088cd0e1b13ac6163febfe7cc355ccdbb2fd/IOE_Standalone.png" data-mid="201770976" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/1000/i/aa9b8e9419994dcc59d3db27d352088cd0e1b13ac6163febfe7cc355ccdbb2fd/IOE_Standalone.png" /> https://arteduculture.co.uk/Alaric-Huang Mon, 05 Oct 2026 14:45:35 +0000 arteduculture https://arteduculture.co.uk/Alaric-Huang Alaric Huang, Artist and illustrator Traces of Repair This work explores repair, emotion, and inner space through textile material, painting, and non-verbal expression. <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/18feac0ea8daa34685c90f5e66f0c9e1dcc41b5699feb2a8d9dd416ca92333ac/Alaric1.jpg" data-mid="252899484" border="0" src="https://freight.cargo.site/w/1000/i/18feac0ea8daa34685c90f5e66f0c9e1dcc41b5699feb2a8d9dd416ca92333ac/Alaric1.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/4828129a632e0badfb1f4a8f35d1cb1dd9fe1c2a3513430520682c85edebf250/Alaric2.jpg" data-mid="253907982" border="0" src="https://freight.cargo.site/w/1000/i/4828129a632e0badfb1f4a8f35d1cb1dd9fe1c2a3513430520682c85edebf250/Alaric2.jpg" /> I began this project through an interest in art therapy, especially the way materials, process, and non-verbal expression can hold experiences that are difficult to explain in words. As the work developed, I became less interested in telling a clear story and more interested in creating a space where repair feels ongoing, partial, and unresolved. The cabinet suggests a private inner world — a place of hiding, holding, and trying to make sense of things. Around it, felt forms spread onto the wall like traces of what cannot stay fully contained. These wall elements draw on some familiar approaches in art therapy, including line as emotional energy, body mapping, and textile art. Rather than using these methods clinically, I bring them into the work as visual and material references to expression, fragmentation, and reconnection. The installation also includes a painting based on my earliest idea for the project, before it became a cabinet work. Although that original character was not finally placed inside the cabinet, I still wanted to return to it through painting, as a way of keeping the project’s starting point visible. I am not presenting this as a therapy space or claiming that it heals the viewer. Instead, I hope the work offers a quieter space of attention, care, and reflection — a way of staying with fragile or unresolved feeling rather than trying to fix it too quickly. https://arteduculture.co.uk/Annabel-Jones-van-Boxtel Mon, 05 Oct 2026 14:51:13 +0000 arteduculture https://arteduculture.co.uk/Annabel-Jones-van-Boxtel Annabel Jones-van Boxtel, Workshop facilitator, social philosopher, occasional thing-maker London School of Solarpunk Pop-Up Zine Library &amp; Making Space The context from which my research stems, London School of Solarpunk, was once described by its founder as a bunch of people who care about the same things, but are into different things. The result is an art-action school, diverse, cooperative and free, creating spaces and moments for living and socialising in new, imaginative ways. <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/db068dbca6f4ccae1ae8e8d8ed6d7b514892f45a6d4547bcbd90781559e89240/Annabel2.jpg" data-mid="253908125" border="0" src="https://freight.cargo.site/w/1000/i/db068dbca6f4ccae1ae8e8d8ed6d7b514892f45a6d4547bcbd90781559e89240/Annabel2.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7fc24edb2147e97ff3f90e79255da803a439d08a6ec04605ade09a4d858fde6c/Annabel1.jpg" data-mid="252899552" border="0" src="https://freight.cargo.site/w/1000/i/7fc24edb2147e97ff3f90e79255da803a439d08a6ec04605ade09a4d858fde6c/Annabel1.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/9cfcf2517fe47b61682cb162b98a61712f0aae7fc47bf192d031b68c69345c29/Annabel3.jpg" data-mid="253908126" border="0" src="https://freight.cargo.site/w/1000/i/9cfcf2517fe47b61682cb162b98a61712f0aae7fc47bf192d031b68c69345c29/Annabel3.jpg" /> This pop-up was set up in the spirit of solarpunk, using accessible and abundant materials to sculpt an environment that hopefully makes you feel comfortable enough to tap into your own accessible and abundant creativity, in whatever form that takes. The London School of Solarpunk Nomadic Zine Library, the paintings Something to Think About and Big Art, as well as the work of my peers in this exhibition, might stir an idea in you. Use this space to explore that idea through conversation: making a zine (or two), sparking up a chat, or even having an internal dialogue. Activism can sometimes get stuck in talk, too preoccupied with perfection, or be unsustainable, too emotionally draining. LSoS’ purpose is activation - bringing ideas into the world through social art and experimental education. It’ll be messy and imperfect and that’s okay. We’ll do it together. We’ll work with what’s around, and we’ll make it fun. This is an approach I need personally, advocate generally, and place at the core of my research, focused on zines (pronounced zeens) and zine-making. As a low-tech communications technology and anarchic physical media with roots in 80s punk counterculture, zines are the pinnacle of solarpunk epistemology. I have a longstanding academic interest in the relationship between epistemology and pedagogy (or knowledge and education), but the limits of theoretical inquiry previously foreclosed the dimensionalities of the research you see before you. This project is a heavily-situated, practice-based exploration of the potential of zines for a solarpunk pedagogy. https://arteduculture.co.uk/Clara-Storgaard-Petersen Mon, 05 Oct 2026 14:54:13 +0000 arteduculture https://arteduculture.co.uk/Clara-Storgaard-Petersen Clara Storgaard Petersen, Art and gallery educator When Kiwi Moved in bathroom, farm and art studio converged to a (sur)real space for reconfiguring life in East London <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/8b59f13f9e7500a99a842c5c2483e62e3e606f9641c5ce2ae2c0f3137fe52088/Clara2.jpg" data-mid="253908248" border="0" src="https://freight.cargo.site/w/1000/i/8b59f13f9e7500a99a842c5c2483e62e3e606f9641c5ce2ae2c0f3137fe52088/Clara2.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/34e6e2f592dc580089b45c1ffbc40f279c46ef3569212077781540c7dea58bf3/Clara1.jpg" data-mid="252899941" border="0" src="https://freight.cargo.site/w/1000/i/34e6e2f592dc580089b45c1ffbc40f279c46ef3569212077781540c7dea58bf3/Clara1.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/1ea4063280008010387c5fe55380df3c1cfa4e61d2f2b2048ffdf5003f49df3f/Clara3.jpg" data-mid="253908249" border="0" src="https://freight.cargo.site/w/1000/i/1ea4063280008010387c5fe55380df3c1cfa4e61d2f2b2048ffdf5003f49df3f/Clara3.jpg" /> Kiwi, Cranesbill and Winifred moved into my flat from Stepney City Farm. Their wool was handed to me as the current price of fleece doesn’t cover the cost of shearing and the time-demanding task of turning raw wool to textile is outsourced to exploit cheaper labour. Unpicking, scouring, carding, spinning and felting, technique is eclipsed by getting a feel for the wool. I come to know the sheep and the tools I have inherited. As I take up the laborious task, performatively and literally,&nbsp;I explore wool practices in their contemporary reality. Networks of practice entangle. Kiwi took the Weaver line. Since I graduated with a BA in Art History, I have worked on learning programmes in contemporary art galleries. Coming to this MA, I was curious to expand my understanding of art in social and philosophical contexts with the embodied, material dimensions of my knitting practice. I see art and education as linked in their shared potential for finding new ways of being in the world through making meaning. This practice-based research simultaneously presents metaphors&nbsp;and concrete actions for a slower, more connected life in the city. In these, I find a role for the artist/educator to point to the lived and fantastical material world. Recommended playlist: Smerz – Roll the Dice Madonna – Material Girl Trille – Altid har jeg længsel https://arteduculture.co.uk/Jasmine-Fleur-Sullivan Mon, 05 Oct 2026 14:56:58 +0000 arteduculture https://arteduculture.co.uk/Jasmine-Fleur-Sullivan Jasmine Fleur Sullivan, Artist and Head of Secondary Art Studio Hwyl - turning the tables on creative freedom in the Secondary Art classroom A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. (Deleuze and Guattari 1987: 25) <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/482591b6d022450a8caef6a840bf536508e5893c60bb9d5b48a2bb456747d5a9/jasmine2.jpg" data-mid="253908309" border="0" src="https://freight.cargo.site/w/1000/i/482591b6d022450a8caef6a840bf536508e5893c60bb9d5b48a2bb456747d5a9/jasmine2.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/1278742523e0b7e8acefd72935e39885612ab8977d0f64b98be14c5eda7bf2c1/jasmine1.jpg" data-mid="252900054" border="0" src="https://freight.cargo.site/w/1000/i/1278742523e0b7e8acefd72935e39885612ab8977d0f64b98be14c5eda7bf2c1/jasmine1.jpg" /> Start in the middle. My practice-based research introduces Studio Hwyl, an alternative working space within the secondary school art classroom. The project re-imagines the classroom space to encourage freedom, where learning occurs through experimentation.&nbsp;The term ‘Hwyl’, (pronounced hooeel), is derived from the Welsh language, my place of origin. It describes a deep sense of joy, immersion, and enthusiasm. Reflecting on my ten-year teaching career, I have become increasingly concerned about student disengagement. Studio Hwyl and its turned tables has broken through this. I transformed the classroom by removing traditional table layouts, quite literally flipping the tables, and encouraging students to work with large-scale cardboard pieces, to imagine what their ideal studio would look like. The results included richer discussions, greater material exploration, and renewed excitement for creative practice, but most importantly the opportunity for students to have their own space, in many cases this space becoming the artwork itself. This also allowed me to reflect on my own identity as both teacher and artist. Whilst the joys of this project emerged, I could not help but feel like I wanted to be in the shoes of the students taking part. This installation highlights the struggle of the positionality between art teacher and artist. I realised the importance of MY space to create. From the collages I make on my commute at the end of a busy teaching day, to the abstract, expressive drawings that represent my brain exploding during the school holidays. The images presented are representative of surveillance scanners and heat maps, which act as a metaphor for the tensions in the modern classroom, its chaos in all its glory. The photo edits represent a crossing over of the two dimensions, warping working realities for both student and teacher. Reference Deleuze, G. and Guattari, F. (1987) A Thousand Plateaus: Capitalism and Schizophrenia. Translated by B. Massumi. Minneapolis: University of Minnesota Press. https://arteduculture.co.uk/Jinyan-Yu-Pat Mon, 05 Oct 2026 15:01:36 +0000 arteduculture https://arteduculture.co.uk/Jinyan-Yu-Pat Jinyan Yu, Pat, Animator, Art Educator Start a Project What happens when the FREEDOM to "BE ANYTHING" becomes an OBLIGATION to "DO EVERYTHING"? This exhibition explores the paralyzing tension between the command to ‘Start a Project’ and the visceral resistance of ‘I don't wanna do it’ because I have too many options and do not know where to start! My research investigates how the contemporary creative subject is exhausted by the VIOLENCE OF POSITIVITY ---------------— the relentless pressure to: &nbsp; &nbsp; &nbsp; &nbsp; Initiate &nbsp; &nbsp; &nbsp; &nbsp; Produce &nbsp; &nbsp; &nbsp; &nbsp; Succeed <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/d5e7105dc85c20b77ab76d6967dc4e61174588e50033d355713bfe7c9a247dd4/Jinyan-Yu.jpg" data-mid="252900173" border="0" src="https://freight.cargo.site/w/1000/i/d5e7105dc85c20b77ab76d6967dc4e61174588e50033d355713bfe7c9a247dd4/Jinyan-Yu.jpg" /> This project is a procedural metaphor for creative paralysis and accepting your work. While the title screen invites the player to Start a Project, the gameplay itself is a ‘false freedom’. Inside, doors open offering infinite choice, yet they all lead back to the same cluttered room of unfinished drafts. By integrating&nbsp;my raw, physical comic sketches — held together by adhesive tape and desperation — directly into the game’s architecture, I document the ‘making’ as a site of struggle rather than a path to a solution. This work is an inquiry into Intolerance of Uncertainty and Identity Crisis. It reframes the ‘fear of not knowing’ as a systemic symptom rather than a personal failure. I invite you to navigate this maze of beginning, to feel the exhaustion of infinite choice, and to find value not in the ‘exit,’ but in the honest, messy debris of a researcher who simply doesn't want to do it — yet finds themselves starting again. https://arteduculture.co.uk/Jinyi-Zhu Mon, 05 Oct 2026 15:04:10 +0000 arteduculture https://arteduculture.co.uk/Jinyi-Zhu Jinyi Zhu, Art Educator Carrying the Ritual Forward My work began with family oral history and explores the cultural heritage of my hometown, Shanghai, through traditional media, digital media and artificial intelligence. It focuses on a largely forgotten Shanghai folk ritual known as Carrying the Third Lady (formally Welcoming Zigu). This is a commemoration of Zigu, a benevolent yet ill-fated figure from folk legend. During the festival, worshipers welcome Zigu and use the practice of spirit writing to divine matters concerning daily life, such as sericulture. Through layered making and archiving, I reflect on how a sense of authenticity is constructed in the digital age. <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/52c2540ddca75bf62c85514b6dc7eaee89e2e35fdae2242c31b1eccc83074f1f/Jinyi2.jpg" data-mid="253908906" border="0" src="https://freight.cargo.site/w/1000/i/52c2540ddca75bf62c85514b6dc7eaee89e2e35fdae2242c31b1eccc83074f1f/Jinyi2.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/040dae629693e30890962b63a54d339cac0ff8df6d676f71aa201374264a2fa2/Jinyi1.jpg" data-mid="252900193" border="0" src="https://freight.cargo.site/w/1000/i/040dae629693e30890962b63a54d339cac0ff8df6d676f71aa201374264a2fa2/Jinyi1.jpg" /> I collect both first- and second-hand materials, including my grandfather’s oral history recordings, online blogs, and historical paintings. None of these sources provides a complete record of the ritual. Folklore and ritual are not fixed; they shift through memory, emotion, and changing cultural contexts. Transmission is not preservation but reinterpretation — each generation reshapes what it inherits, and every personal memory becomes part of cultural history (Bell 1992). When I first heard about the ritual, it felt distant and almost unreal. Through my research, I discovered that the custom has a more specific name dating back to the Northern and Southern Dynasties, and that literati such as Su Shi wrote about them. When this ritual is placed in its historical context and backed up by extensive documentation, it appears to be more ‘authentic’ and can be regarded as cultural heritage rather than superstition. I am carrying the ritual forward and creating a narrative form co-authored by humans and non-humans. After encountering my work, viewers may develop their own understandings and imaginings of the ritual. This is how traditions are transmitted. Such transmission is distorted in relation to the ritual’s original form, yet it is authentic. Reference Bell, C. (1992) Ritual Theory, Ritual Practice. Oxford: Oxford University Press. https://arteduculture.co.uk/Joycee-Jiang Mon, 05 Oct 2026 15:07:36 +0000 arteduculture https://arteduculture.co.uk/Joycee-Jiang Joycee Jiang, Performer, Artist, Arts Educator What Belongs to Me I often think about my body.I like touching it; I like kissing my knee.It is soft, vulnerable, and protective all at once. Yet I continue to question whether I fully own it. Is the body truly mine, or merely an outer layer — something visible, functional, expected to perform for appearance, reproduction, or desire? <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/d84142f59729142537c6b6b4ae8f9a09279e1dee9b168d56886a8ff5db91257e/Joycee2.jpg" data-mid="253909017" border="0" src="https://freight.cargo.site/w/1000/i/d84142f59729142537c6b6b4ae8f9a09279e1dee9b168d56886a8ff5db91257e/Joycee2.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/ce7373e908bdda5d84b773b8c19721520ac8c5a9ffd43c51e1d48a9f6ea8ff2b/Joycee1.jpg" data-mid="252900327" border="0" src="https://freight.cargo.site/w/1000/i/ce7373e908bdda5d84b773b8c19721520ac8c5a9ffd43c51e1d48a9f6ea8ff2b/Joycee1.jpg" /> Women’s desire is frequently hidden, regulated, or left unspoken. Within many social and cultural structures, female pleasure exists in contradiction: constantly projected onto the body yet rarely allowed to speak in its own voice. My practice emerges from this tension between intimacy and silence, asking how desire can exist beyond performance, shame, or expectation. Some things are difficult to explain. They must simply be watched. Observed carefully. The clay is touched, caressed, clenched, squeezed, and fired. Fabric is stretched, cut, punctured, and stuffed through a narrow opening. Skin being touched, flowing through water. An ovarian-uterus-shaped vibrator lies beside the bed: intimate, exposed, quietly present. Drawing on Erin Manning’s understanding of relational movement and embodied process, I approach the work as a site of becoming rather than representation. The gestures of making become gestures of embodiment. The forms remain suspended between hardness and softness, intimacy and fragility, protection and exposure. They resist clear definition, existing instead as accumulations of bodily encounters. Desire becomes powerful when it is allowed to exist without apology, without needing to become legible or acceptable. Feel free to touch them, hold them in your hand. Love it, cherish it, as they belong to... https://arteduculture.co.uk/Lillian-Cheever Mon, 05 Oct 2026 15:10:42 +0000 arteduculture https://arteduculture.co.uk/Lillian-Cheever Lillian Cheever, Artist Educator, Sewer, Collector of things on the ground Meander The roving style of stitching sewn onto a quilt is called a meander. Meandering is also a way of moving about the world that is slow and aimless, without a clear direction or outcome. When you aren’t looking towards a destination, it is easier to see where you are and what’s around you. <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/c4b55b7f320a27fa2d4d80840d77dad8dfae5d87c89c20afb5514c7a928cddd4/Lilian2.jpg" data-mid="253910652" border="0" src="https://freight.cargo.site/w/1000/i/c4b55b7f320a27fa2d4d80840d77dad8dfae5d87c89c20afb5514c7a928cddd4/Lilian2.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/5928e2cca740776f44ec5872e0d680baa963cb63a2f6dda795d5a6e8abbd0b65/Lilian1.jpg" data-mid="252900446" border="0" src="https://freight.cargo.site/w/1000/i/5928e2cca740776f44ec5872e0d680baa963cb63a2f6dda795d5a6e8abbd0b65/Lilian1.jpg" /> I like to meander, and when I do, I often spot discarded or forgotten objects on the ground which I collect. Later, I bind those things together to make something new which I could never have thought up without going on my walk. In this way, my practice has become a response to the things (objects, people, ideas) which interrupt me and my expected path. Learning — in neoliberal education systems — is often oriented towards a destination, or the intended outcome a student is expected to achieve by obtaining certain knowledge and meeting certain criteria. What possibilities are foreclosed when people lose the privilege to meander? What new pathways could be revealed if everyone had the time and space to not&nbsp;know where they are going? &nbsp;