Is the act of ‘becoming’ the artist a truly independent one? Is Madonna allowed to reflect a shift in her own perceived identity by ‘dressing’ as the artist, as the diva or as the dominatrix – as she is clearly presenting here. John Turner seems to believe that as an individual, with an understanding of social constructs, Madonna can present herself as anything she wants to be. He says, “Identity is shaped by self categorisation”. Therefore, if you choose your clothes, you choose a category for yourself.

Entwistle, however, seems to believe that “Practices of dress…drawing attention to differences…that might otherwise be obscured”. So therefore, your expression of self can represent/define you more than your actual being. As a body, you are more susceptible to fluid identity. Once you choose to ‘dress’ as one identity, it becomes much more fixed. So you are allowed to make a music video as an artist, if you dress and act as an artist. But only when you ‘dress’ yourself as a dominatrix, as a nun or as a man does the identity become an issue - just like Madonna does here. As Mercer says, “Identity is only an issue when in crisis.”

Extract from my paper : Autonomy in Reinvention - Can Madonna be an artist?
'For a stone, when it is examined, will be found a mountain in miniature'

John Ruskin

These paintings by Ged Quinn are great examples of my latest buzz phrase 'abstract narrative'. They reveal nothing, but leave you asking for way more information. I'm not usually a lover for 'traditional media' like paintings, but I love these pieces. Particularly the first painting, featuring the trees. I'm always in love with trees in art work - there's something that I find very appealing. "You can't see the woods for the trees". That's a good phrase, right?

A recent trip to Paris led me to come across this amazing performance piece in the Centre Pompidou. Entitled Blanche Neige - The Banquet, the piece was a totally immersive performance in which 14 'Snow White' characters act out their desires in the tea party setting. Initially, it was a bit uncomfortable - but as the artists start to move around you, you feel yourself becoming part of the work. It's probably the first time I've had experience with performance art in a setting like this; and I have to say that it was very impressive.

@ Centre Pompidou, Paris

This song is the perfect example of what I'm labelling 'self destruction'. Although the lyrics are taken from a heartfelt song, the treatment of the overall audio destroys everything that was human about it. It's all stripped back in favour of a heavy electro and vocals that are almost unrecognisable (something that I've always loved from Crystal Castles). But, saying this, I think emotion is still audible, it's just reflected through machines; and that's something unknown to the human mind. They've taken the action to destroy themselves and replace themselves with mechanical representations. Then in a true act of destruction, the song begins to cannabalise itself at 2.48 onwards, with the bare electro being ripped away in favour of (what I'd describe as) glittery white noise. Whatever it all means, I do love the song.
Even better, here, it seems as though the emotion has well and truly disappeared, instead replaced with something resembling a exorcism in a submarine. That's my opinion, anyway. I can't think of a better way to represent self destruction in audio.
As summer progresses, I'm becoming less and less active, I think. Today my activities include washing towels and drawing. Due to a frenzied reading of the whole Age of Apocalypse saga, along with a love of the New X-Men in general, I decided to combine them both. The kids have never been canonised in the storyline, so I decided to do it for Marvel. They can thank me later. I have character designs for the majority of the kids, but I need to work out a few visuals. I'm just that geeky. Below, you can see an illustration of Rockslide and Loa going ahead. I've always been in love with Loa's visual and power and I think Rockslide lends himself well to the harsh environment of the AoA timeline.

The text below was produced as part of a publication aimed to spark ideas for my final year of study. I’ve decided to post them here as a record of my work - and to hopefully receive feedback on some of the stronger ideas. I’m very willing to discuss any idea here and would love to chat about them, if you’re into that kind of deal. I know it’s pretty kinky. Enjoy!


As a continuation of what has occured this year, I really want to delve deeper into the cross between conceptual work and commerically viable design. I really think this has been born from the state of the industry outside of college – seen first hand in my internship.

Despite this, I really want to tackle conceptual work. As I said before, this year has given me much more conviction in my thought process; and now I do believe that I can approach my self initiated projects with enthusiasm. This also relates to my dissertation, as I do want to find a common ground between writing and my design work, as I really think it will strengthen both sides of my studies.

I’m also keen to approach more collaboration projects, perhaps even reaching out to other pathways of the course.

I’m heading towards third year with a huge amount of optimism and enthusiasm; I am looking forward to

tackling complex projects and working towards a strong individual body of work.



This project is inspired by the work of Gregory Crewdson. As a photographer, he is an expert at creating tension via unsettling imagery. His work focuses on ‘artefacts of narrative’ – that rather than reveal everything, only create more questions.

The intentions of this project are to explore the use of broken and abstract narrative in graphic design; to tackle subjects that instill questions in the ‘reader’ rather than providing all information freely. Because of this, the project could take any shape of form and really could result in anything.



Since moving to London, Elephant and Castle has truly become a home away from home. An area that is earmarked fordevelopment, but still seems to be resisting and thriving.

This project would be a love letter to Elephant & Castle. Any topic would be up for grabs, from transport, to people, to the buildings. It could be focused on one, or it could be a very targeted study of one section. One idea would be to also take the project out into the area, so it becomes an interactive piece for the people of the area; perhaps even as a ‘cultural time capsule’ that will survive the forthcoming gentrification of this amazing part of south London.



“What remains that we do not see?”

What is the soul? How has the soul been portrayed in graphic design and other media forms? How can it be explored visually? Is there a balance between the mind, the body and the soul?

These are the questions for this project - which all circle around the incredibly abstract concept of soul and spirituality. I find this topic to be incredibly interesting; especially when brought into the realm of art and design. This project aims to explore these portrayals of the soul and attempt to document similar concepts.

Could it be treated a purely scientific, information piece of design? Does science have any role in these topics? How much impact does photography have in the portrayal of the human soul?



“We are nothing without our image, without our projection. The spiritual hologram of who you choose to be; or rather, to become in the future.”

This project is inspired my dissertation topic. I am studying the phenomena of Lady Gaga and her use of performativity in her

percieved ‘art form’. The aim of this topic is to explore the lengths that the artist will go to to express their art. Artists such as Gaga, Cindy Sherman and Orlan will purposely destroy their own image in pursuit of another, more creative persona. Their identity manipulation has become an art form of it’s own.

This topic also relates closely to the previous project - in that it questions the impact that artforms such photography have on the human identity, and by extension, the human soul.

Is character construction really an art form? If you create your own character, are you destroying the ‘real’ you?

I've just got back from the Photographer's Gallery. I had no idea there was a Sally Mann show on. Needless to say, I was blown away. I've always loved her work, and seeing it in reality just made me love it more. I don't think there is another artist working right now who I identify with more - despite my dislike for children in general. I particularly like the way she treats the environment, as a living and active part of her work.

The fact that 'What Remains' was showing just blew my mind - it's one series of photos that have inspired my greatly. I know she recieves a lot of attention for using 'taboo' subjects such a child nudity and death - but I think she treats the ideas with a huge amount of respect. One photo took my breath away, I think. I can't find a digital copy - but it features a decomposing human face seemingly drowning in mist and covered in plant life. It all sounds very morbid, but it's still very beautiful. I can't recommend the show enough.

I think it's quite easy to fall in love with Sade. There's something very natural about her music - and how she presents it. I love the subtle 90's vibe these videos have, despite them feeling timeless. Maybe it's just nostalgia - but it seems perfect for a July afternoon.