In me/copy, Lingens re-enacted other well-known self-portraits, breaking with the traditional understanding of a self-portrait as an authentic expression.

Saltos de Marimán is part of the series Anti-Gravity, which is a result of studies that emerged in the Chilean Pucón, the place of the artist’s childhood.

Andrade works mainly in film and photography, comprising long-form, research-based social documentary landscape and portraiture projects.

Marks’s overarching ambition is to represent human visual perception realistically, experimenting with this theme through many diverse fields.

The starting point of Varidon’s work is built with found photographs and from there placed threads undertake a journey, adding depth & meaning.

Weber’s photo, video, sound installations are distinguished by their use of critical theory, psychological depth and a sense of humour.

Sofia, taken from the series Another November, is situated in a nostalgic present where memories are constructed and discoloured.

Davies collects stories remembered from long-standing couples, as to how each met the other, asking them to write down their memories.

Last Pose of Life captures the final moments of life acted out by a natural specimen, seeking to engage viewers with extraordinary details of nature.

*Shortlisted*
Lyon is inspired by the resilience of humanity at the edge of existence, with his practice centring on a search for meaning about our universal actions.

Although delivering both vague and inconclusive results, Cavali documents heterochromia around the globe and collects stories of individuals.

Travelling through Iceland for four months, the light was bright, colours were vivid, and by the end of Lavigne’s trip the sun kept shining all night long.

Confrontation is dedicated to globalisation, up-to-date world processes, emerging conflicts and new values of a post-industrial society.

True Hunting’s Over was conceived through a desire to develop a free-flowing approach to Hay’s methodology and to push perceived boundaries.

Magnetic Sleep takes its title from a psychiatric term and treatment used in the late 18th and early 19th centuries, prior to the discovery of hypnotism.

Constructed across 16 archive photographs, Centotaph reflects upon the changing representations of Tehran’s monument, Shahyad Tower.

Entity III is influenced by the aesthetics of contemporary architecture and goldsmithing, defined by the juxtaposition of various materials.

Xu reflects upon the dialogues created at the intersection between humanity and technology through visualisation, performance and installation.

Swimming pool #1 sits within a series that debates with the notion of identity by looking back to the past in order to recognise the present.

Smith’s As the Crow Flies addresses a deeply-held fascination with birds and the complex symbolism and metaphor that surrounds them.

Cadavre Exquis I (meaning “exquisite corpse”) is a montage interpretation of Soyoun Kim’s identity based on personal preference.

*Student Prize Winner*
For 10 years, Mooney has observed and experimented with landscape, from the scenery of her home country, Ireland, to less familiar terrains.

Copse is developed by combining fragments of collected imagery, ranging from photographs and prints in old magazines to painted elements.

Whilst shooting Sun City Poms, Antony thought about the American obsession with ageing, from child beauty pageants to those striving to hold back the years.

Lacuna – meaning an unfilled space, a gap, an extended silence or depression – is a once-thrown piece that rests and melts with hidden pools.

Using coarse materials and methods, Chalyvidis produces kinetic structures and mechanisms to generate sound, movement and rhythm.

Commenting on dementia, the figures’ welded encasement suggests the sufferers’ physical and mental entrapment within themselves.

The Power of Beginning is a sculpture created with a 3D printing pen, which allowed the artist to produce a layered structure which interacts with light.

Inspired by long case clocks, Aitken makes weight-driven, pendulum-regulated clocks: rotating wooden wheels controlled by gravity.

To Find is Never Found began with the found object and considered its effect on the ubiquity of abstract language.

Sonny Moved White Oblongs is made from plaster and wood – specifically, burnt wood, which is a material with unusual characteristics.

Using existing objects, Honeywill makes sculptures, including Unfunction / Function, that come with their own narratives and histories.

Mackenzie investigates the deconstruction of Phallogocentrism; in which the artist proposes to form a “labial/rhizomatic” way of thinking.

What the eyes do not see demonstrates how observation challenges the way we understand the world, and how thinking about it changes what we see.

de Caires Taylor’s work focuses on the dramatic decline of the world’s reef systems and the ways in which artificial reefs can increase marine biomass.

The defining word for Still’s artwork is “growth”, always searching for unique objects in order to construct one-of-a-kind sculptures.

Elica Pendant Light utilises conceptual sketching and 3D modelling to create contemporary structures which encompass shape, colour and form.

*Shortlisted*
Requiem is a self-contained sculpture suspended between walls: two identical synthesizers pinned apart by metal rods which create a drone field.

The central driving force behind all of Voss-Andreae’s work, in art as well as in science, is a deep curiosity and a passion for nature.

Flirt abstracts the language of relationships and considers both our gregarious, social behaviour and more intimate states.

Stoneflower is a three-dimensional collage built from floorboards, driftwood and aged furniture that have been re-worked into new forms.

de Goey’s sculpture, Curly Burly, investigates the symbiotic relationship between sculptures and the wider contexts of their surroundings.

Blue Agate Bracelet stems from Delarue’s interest in the notions of imitations and counterfeits, particularly those created to meet people’s needs.

F-111 Aardvark consists of cones that are integrated with spires and held together under tension, supported by utilitarian containers (crates).

*Shortlisted*
Waterhouse strives to construct objects that are beautiful, useful and intriguing, using technology to create and the develop sculptural forms.

Untitled occupies a seemingly empty area through suspended clay forms, which buckle and blister organically along its vertical support.

Questioning social systems and civilisation, Pradittasenee is intrigued by the notion of being and non-being as demonstrated in KHOA MO

Visible political constructs and the presence of hidden violence and fictitious narrative in present-day warfare underpin Umar’s practice.

Illuminated by a single spotlight, the elevated texts of Visual Perception in Typography cast ambiguous forms across gallery walls.

In Uninhabited Island individuals sit alone and are locked up in their own world; contemplating their own universe inside geometric units.

Dystonia is an exploration of human identity that manifests alter egos and their internal circumstances among theatrical environments.

Körber paints objects of a technical nature by making use of uncommon perspectives, colours or relationships to create a narrative arrangement.

Imaginary Landscape 01 is one of many fictitious landscapes, featuring a composition of various natural forms and layers of paper collages.

Black Shed stems from the need to understand the conflicting definitions within Ariel’s own identity and the contradicting legacies she inherited.

‘a priori’ is a work in two parts and explores the cognitions of painting, addressing the dialogues played out between artwork and spectator.

So Close So Far Apart II was made for an installation at the National Theatre of Greece, and depicts the interior of Greece’s Presidential Mansion.

In Cloud Root Pugh used 30 layers of incense burnt rice paper to convey a sense of shifting forms, challenging the idea of an anchored moment.

Not White Enough probes the subconscious, reinterpreting innocence and desire, and casting the viewer as both voyeur and participant.

Bloomfield’s principal concern is in examining the parallel realities that we inhabit: worlds and shadow worlds and the interplay between them.

The architectonic and geometrical nature of P.Y.B references qualities of the built environment and the everyday infrastructure.

Found imagery from the 1970s and 1980s, typically from advertisements or photographs recalling a pre-digital age are the basis of John’s practice.

*Main Prize Winner*
Sourced from mug shots of arrested victims, Keane’s paintings draw on images from the great Stalinist terror of the 1930s.

Creating pieces both tactile and visual, Amdur works in a purposefully low-tech way in a high-tech world, traversing multiple disciplines.

Through structural exploration, o.T. surveys the dominant themes of presence and permeability, invisibility and disappearance.

Part of an ongoing series, Del Campo’s The Other Side depicts isolation, loneliness and degradation of society and the environment.

Council Blossoms is part of a collection of work that portrays the beauty and decay of urban landscapes in the neighbourhoods of London.

Patrizio Sanguigni’s work Untitled is a study of decoration in oil and tempera on canvas that highlights the importance of perspective.

Based on the idea that individuals perceive the same objects in diverse ways, Lord examines perception in her work Send Me On My Way.

*Shortlisted*
Inspired by complex relationships found in Chaos Theory, Elhoussaini’s drawings reflect the interconnected universe of natural & man-made systems.

Drawn to the aesthetic of the snapshot, everyday scenes that go unnoticed through their apparent familiarity are the starting point for Cameron.

Taking stock of the immediate environment; banal, bleak and comforting, Turner creates objects made of gestural lines.

Beaudry is fascinated by the fetish-like power of relics in the Roman Catholic Church, and traditions involving consumption or asceticism.

Through an intricate web of objects, drawings and words, Pullen hopes we might reflect upon their place within any number of worlds and realities.

My favourite memory I didn’t have a photograph of is a series of images and interviews with participants, some of whom are suffering from memory loss.

What Are You Fishing For? acts as a metaphor for youth; the piece plunges viewers into the heart of the union between a young man and woman.

Media-saturated, consumer-driven everyday environments are the source material for Cecilia Stenborn’s work, entitled SYSTEM.

Blacker examines the properties of the gases while looking for their relationship to everyday life, subjective reality and collective experiences.

Taking a demolished Modernist building and the lost work of its designer as its subjects, Murphy’s film is concerned with the notion of “being out of date.”

Excavation is an ultra-personal journey through one man’s fears and psychic wounds. It is meant to read like a mirror, addressing universal issues.

Based on the Deleuzian idea of rhizome, Chung’s work investigates a form that emerges from a process of drawing ideas in three-dimensional space.

Madre Quentina is an audiovisual composition in six acts with an epilogue. Ultimately, it is a work dedicated to all those who observe you.

The concept of Nakagawawa’s work is a space-experiment for architecture. It raised several questions: What is architecture? What is an inner space?

Ingham has an enthusiasm for techniques and materials which aid her investigations into ideas surrounding time and the human condition.

The Remote Performances project was a week of radio art broadcast live from Outlandia, an artists’ field station in Glen Nevis, Scotland.

Seed to Seed is a 20-minute film that uses seeds as a metaphor to analyse the links between biodiversity (the seed) and cultural diversity (identity).

Gattorna’s films converge the avant-garde and documentary modes of cinema, swaying between direct observation and speculative fiction.

*Shortlisted*
The Cloud is More Than Air and Water surveys the physical locations of “The Cloud”, capturing the unique acoustic footprint of the internet.

Primarily working in installation and moving image, the main intention of Tharang’s practice is to challenge patterns of perception.

There is a strong sense of romanticism in Hannah’s work, mainly in the ways in which sound, performance and film are used as an outlet.

In Tanker and Diver, Goudal explores the fine line between reality and fiction, featuring ambiguous repetitive performances in over-scale landscapes.

Movement and the way in which it exposes the presence of power structures in everyday life are the driving forces of Geagea’s video.

1+1=UNA MÁS moves from logical space to the logic of the space. The horizon line is rotated by 180°, breaking and short-circuiting the image.

Inspired by ways in which digital and physical cultures merge, A Lower Volume offers an immersive and illusory journey through liquid and light.

Kim has made use of language, sound, machines and time in order to create a means of representing the problematic points of how humans interact.

Xin is interested in the “othering” of minorities in relation to aesthetics & economies and is drawn to the potential of forming natural connections.

In I Just Want To Know You / Intensive Care one person wants to know everything about the other and precisely measures their entire body.

Hendee’s The Last People analyses form building, which is influenced by digital methodologies and makes use of ordinary materials.

For Tsuyoshi Anzai, machines are things that are beyond control. This idea is one of the key motifs in Sweet Dreams.

*Shortlisted*
In Preservation, Drebusch has made jam from fruits that grew in Bonn, Germany, but on the grounds of the embassies of Iraq, Iran and Saudi Arabia.

The materials of choice in Kurulkar’s 5 Seconds Later – water and clay – bring associations with a range of religious customs and beliefs.