Masters

Gallery One     Gallery Two     Gallery Three

Maxim Zaragoza

Maxim Zaragoza was born in Tokyo in 1993 to a Mexican family she constantly misses. She has moved around a lot and has become fascinated with paper. She enjoys working with it the most because of the materiality it offers storytelling, while also being light enough to bring wherever she goes. She is a writer and illustrator currently living in-between Scotland, Mexico, and The Netherlands.

In a world that grows more fearful of “others”, she wishes to offer a place to ground stories of people in movement and has compiled a few in two websites:

In Little Stories of Little Griefs, she explores what it means to leave a home, to arrive to a new place, and to find little things in it to make home. In La Tortillificación (The Tortillification), she finds these things in the blue corn tortillas she is making during quarantine. They are the same in-between colour as the sea here.

Website
Ross Henderson

Technology is all around us and has evolved from our ability to communicate. "Mankind's greatest achievements have come about by talking, and its greatest failures by not talking" (Steven Hawking). Advances in technology, and transportation being more widely available have resulted in Industrial Remnants being left behind in the form of ruins. Are ruins failures? They leave us wondering what their purpose was but also the number of people who worked there to scratch a living.

Website
Kyriakos Domatzoglou

These pieces are a conglomeration of comic book references, iconographic elements from religious paintings and historical references. During my studies in Aberdeen I decided to explore the rich historical background of Scotland in order to express a revision of its past. My work revolves around the human figure, and the physiological depth it conveys through narrative paintings. Main goal for my MA project is to expand the narration from canvas towards actual space. Simple and mundane materials like cardboards from the streets constitute the armies of the past that surround the viewer, expressing the history of Aberdeen, the tragedies and the paradoxes that it conveys.

As a foreigner to Scotland I approached its past from a different point of view. The exhibition pieces are manifestations of archetypical figures and tragedies that I discovered about the past. All these stories are re-imagined and re-expressed through my personal visual language.

The goal of these pieces is to make the audience see the past of Aberdeen from a new perspective

Website
Sara Jane Gillespie

Badbishzine is a project which aims to discuss gender inequality and sexism through the medium of communication design. Having experienced this throughout the design industry and my everyday life, I wanted to reach out to a community of women who could share my personal experiences, as well as relate and find solidarity in a non-exclusionary community. I think it’s important we discuss our experiences in a space where we don’t have to be in ‘networking mode’ and where we can just be unapologetically who we are without judgement or fear of having to impress in a professional setting.

Website
Jennie Workman Milne

As a photographer, Jennie Workman Milne's work focuses on the recovery and recounting of stories, to inform, engage and inspire.

The three images included in her virtual degree show represent important aspects of her work; resilience, remembrance, and roots, and provide a link to ‘Fragments that Remain’ ~ a personal search for family torn apart during World War Two.

Jennie has travelled extensively in Israel, Poland, and the U.K to document her discoveries, providing a memorial to those who loved and lost during one of the darkest times in History. Her attention, however, is not limited to the past, encompassing related current issues, and celebrating family, reconnection, and the importance of roots.

Website

The MA programme is delivered by an experienced team of recognised artists, designers, critical theorists and curators, who encourage and support a diversity of approaches within these given specialist disciplines and their expanded field. Teaching seeks to both support and challenge critical perspectives within your specialist area of study. You will be supported by a personal tutor, and a blended programme of lectures, seminars, group critique & discussion, periods of independent research and external collaborative opportunities. The course supports a diverse range of working practices whether disciplinary specialist, collaborative or interdisciplinary in nature; or where practices might seek to challenge ‘norms’ within a specialist discipline leading to innovative new practices, are positively encouraged.

Personal Creative Space

"This year has been extremely challenging for all the Master’s students who have graduated, this of all years, and for those progressing with their part-time studies. They have all had to both pause and then re-start not only the physical creative process of making, but more importantly pause and redirect the critical framework on which the work resides, as a direct result of this COVID year. The resulting creative spaces, they negotiated and had to find in this lock-down environment shows real ambition within this work. I do believe they have not been compromised at all by these restrictions, with students finding alternative ways of working and new directions as a direct response and consequence.

In many ways these developments and innovative personal practice[s] are testament to Master’s level performance and I would like to congratulate all the students on the incredible diversity, and creative sensitivity seen within this work, which responded creatively to new personal and social conditions. There are also I feel deeper questions asked here in some of this work, which demands or questions what ‘alternatives to production’ (Bruno Latour) we might now expect, of the systems or norms, we have come to rely on up to this point... resulting in new work, new conditions and new kinds of creative spaces."

MA Course Leader 2020

Jon Pengelly

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