NSAD End of Year Exhibition
Norwich School of Art and Design
> Norwich School of Art and Design
Three weeks before your finals and nothing to show . . ?
Not to worry, simply scout a scuzzy student flat for items such as soiled bath mats, get them embedded in Perspex and revel in your initiative along with Hannah Westwood.
And there was more than a whiff of Emin about Sarah Tuft's installation, with Jack Daniels and fag butts.
But these renegade submissions fade into insignificance in terms of scale and scope when compared with the transposed purple paraphernalia that signifies Jane Carter's bedroom.
Coco Crampton's sophisticated work is heavily influenced by architectural form, which along with the sculptured repetition of Carly Flanders origami offering, was restful after the aforementioned chaos.
- 1 Work from home, masks and NHS passes: New Covid rules explained
- 2 Woman to stand trial accused of causing death by careless driving
- 3 Action taken against cold callers who left homeowner 'freaked out'
- 4 Boris Johnson tells people to work from home as Covid 'Plan B' confirmed
- 5 Pensioner jailed for five years for child sex assaults
- 6 Virus expert says Omicron is 'unstoppable' and backs 'Plan B' rules
- 7 Norfolk man arranged sexual exploitation of teen victim
- 8 Pub transformed into 'breathtaking' family home for sale for almost £1m
- 9 Police called after illegally parked delivery driver blocks bus routes
- 10 Hospital reports 10 deaths of people with Covid in two days
There's a collective strength in the video exhibits: enter Claire Devereux's miniplex for a screening of 'The Following' and experience an atmospheric chill; enjoy the speculative voyeurism offered as Androulla Michael struggles beneath a crocheted curtain; and get engrossed in the dilemma of Dominic Stevensons' taxi passengers.
Engaging in the political arena has fallen from fashion and Clive Thurlow's painted reportage-style rendition of Muslim Women Police cadets possesses a 2-D passivity that reinforces the supremacy of photography in this arena.
The rallying cry of the painting contingent is of course “Go Large” – in slick hi-gloss as favoured by Michael Bowes; with Tristram Bushby's verdant grasscape triptych; in ordered chaos as per Rachel Lakes' grandiose noughts and crosses; or, as Joe Drake prefers, by conveying the magnetism of electricity pylons.
And you can't miss the provocative Cultural Studies pieces in the gallery space.