E X P O S E D
Student Art Prize 2024/25
Exposed:
Not covered or hidden; visible
In a vulnerable position or situation
To reveal the true, objectionable nature of someone/something
This theme invites you to witness the unmasking of what is hidden, bringing the unseen into the light. Exposed is not just about visibility but vulnerability, revealing the true, often uncomfortable nature of ourselves and the world around us. The works in this section challenge perceptions of the self, pushing boundaries of security and exposing the artifice beneath. Through a range of media, the artists explore themes of social media, anxiety, loneliness, and vulnerability, laying bare the complexities of modern life. These pieces subvert what is seen with what is felt, offering a raw and honest reflection of human experience.
Brylle Zachary Tan
Grey College
There is no Good. There is no Evil. (2025)
Printed Photograph
'This photo is a portrait of a person that is lit up with a blue light from the left and a red light from the right. The blue light, from pop culture, represents the vague idea of “good” while the red, “evil”. The person in the middle is turning away from the blue light and towards the red light. A first look at this might seem like the person is turning away from "good" and becoming "evil". But if you look closely at the expression on the girl's face, you see a nonchalant expression, like she does not care what good is or what evil is. For her, there is no good nor evil. Not that it is a good or evil are relative or that there is a grey area. Just that, the concept of "good" and "evil" does not exist. The artwork would have the same meaning even if the light colours were switched, but having her turn into the "evil" side gives more power to the piece as it speaks to the people outside of her world, where people view things as either good or evil, or maybe for some, as a spectrum. For her, there is no Good. There is no Evil.'
Instagram: @brylle.jpeg | Website: brylletan.com | Model's Instagram: @trishachuaa
Sophia Chapman
St Mary’s College
Choices (2025) Acrylic, oil pastels, paint pen and felt tip pen on canvas
'My artwork is called ‘Choices’ because of the many different options available for purchase within the image to make my dinner a little more exciting and interesting than just having Dahl again! For this piece I thought heavily about the lurid and colourful light often seen in supermarkets and especially small convenience stores. I took some pictures at a local Asian market because I love the brightness and the colours and the fluorescent lights, even though I would usually find this setting possibly overwhelming, it added excitement to the products and gave them a sense of life and newness. I enjoyed painting the lurid reds and yellows and light patches using acrylic, a medium I don't tend to lean towards, but to me it also holds a sense of brightness, unnatural, human-made colour and shine to it so I thought it was appropriate. I particularly enjoyed the perspective of the photo I chose to recreate and the bright light shining down on all the products being a key indicator of my theme but also a focus point to lead the viewers eye diagonally and down across the shelves, just like one would when actually present in the store.'
Sophia Chapman
St Mary’s College
Choices (2025) Acrylic, oil pastels, paint pen and felt tip pen on canvas
'My artwork is called ‘Choices’ because of the many different options available for purchase within the image to make my dinner a little more exciting and interesting than just having Dahl again! For this piece I thought heavily about the lurid and colourful light often seen in supermarkets and especially small convenience stores. I took some pictures at a local Asian market because I love the brightness and the colours and the fluorescent lights, even though I would usually find this setting possibly overwhelming, it added excitement to the products and gave them a sense of life and newness. I enjoyed painting the lurid reds and yellows and light patches using acrylic, a medium I don't tend to lean towards, but to me it also holds a sense of brightness, unnatural, human-made colour and shine to it so I thought it was appropriate. I particularly enjoyed the perspective of the photo I chose to recreate and the bright light shining down on all the products being a key indicator of my theme but also a focus point to lead the viewers eye diagonally and down across the shelves, just like one would when actually present in the store.'
“ Shadow is the means by which bodies display their form.”
-Leonardo da Vinci
Hannah Andrews
University College
An Ode to the Sun, A Thank You to my Friends (2025) Acrylic and ink on canvas
This piece is a take on the myth of Icarus but reconsidered in light of the idea that sometimes to touch the sun (to feel happy) you need to risk a fall. It’s inspired by my anxiety regarding my two closest friends leaving for their years abroad as I prepare myself to go into my third year without them. I’ve spent my whole life fearing the abandonment of those I care about. I’ve been flying careful never to let my wings melt. But when I started thinking about the idea of light in preparation for this competition all I could think of was my friends, who have brightened my life immeasurably. It seemed only appropriate that they both modelled for the piece.
This is a diptych, two separate but connected paintings. No matter where they are displayed, even if one is across the world from the other, they will always be connected as my friends will always be connected to me. These paintings express one thing I’m glad I learnt: even if I experience the metaphorical fall of losing them for a time I’m glad I got to feel the warmth of their light.
Sophie Amelia Houghton
St Mary’s College
Refraction (2025)
Oil and Acrylic on Canvas
Through my composition I aimed to represent the juxtaposition between both artificial and natural light and how these opposing components interact with one another. The background scene of the club with its electronic hues of blue, orange and yellow intends to highlights the nature of artificial light in determining the objects which are illuminated and those that fall into the shadows. In this way representing the superficial elements involved in moving to university, the mask one puts on for the fear of getting judged or being different. Contradictory to this, the natural light of the face in the foreground supposedly embodies the natural and true light encapsulated inside an individual. I wanted to emphasise this concept of one’s natural light being true by placing the figure in the centre of the composition. The hands either side of the face symbolising one’s apprehension to show their authentic self when first moving to university. These two juxtaposing ideas are representative of the apprehension one feels when first coming to terms with how to navigate this new and exciting journey. But how as time progresses and one’s confidence grows their natural light inevitably will shine through.'
Keziah Whetham
Josephine Butler College
Spilt (2025) Oil on Canvas Board
'I have chosen to display vulnerability as an immediately noticeable, glowing thing: intestines. These intestines represent the loss of hope and courage through a betrayal of trust when being vulnerable to someone, but as intestines are integral to health, their spillage also represents a sense of depression or something amiss in life. The inability to regain this light, portrayed by the figure’s inability to cradle the intestines, is what the core of this piece is about. The black background exemplifies the loneliness that comes with this, though one may notice the moth landing on one side— an indicator of better times to come.'
Keziah Whetham
Josephine Butler College
Spilt (2025)
Oil on Canvas Board
'I have chosen to display vulnerability as an immediately noticeable, glowing thing: intestines. These intestines represent the loss of hope and courage through a betrayal of trust when being vulnerable to someone, but as intestines are integral to health, their spillage also represents a sense of depression or something amiss in life. The inability to regain this light, portrayed by the figure’s inability to cradle the intestines, is what the core of this piece is about. The black background exemplifies the loneliness that comes with this, though one may notice the moth landing on one side— an indicator of better times to come''.
Beckett Anne Yorke
Josephine Butler College
Exposed (2025)
Oil on mount-board
'When I thought of ‘Light’, what came to mind was how light is often used in artwork to represent something good, a counter to darkness, a ‘light in the dark’, representing hope. I wanted to upend this narrative, treating light instead as something foreboding, this led me to think of exposure; light bringing something to the surface that wasn’t meant to be seen. I wanted my portrait to convey this vulnerability, the hand casting a shadow over the face as a futile attempt to remain hidden when faced with a revealing light, exposing the figure. Unprepared to be perceived, they are powerless to avoid the eyes of the viewer, trapped in the spotlight and singled out for scrutiny.
I feel that this artwork is particularly applicable to the current culture as it relates to the prevalence of social media. Our lives are constantly exposed for all to see, spotlights in the dark, highlighting us not just at our best, but in the moments we would rather stay hidden, the times we feel most insecure. With this painting, I hoped to capture the instability of a world where nothing can be hidden or erased, for better or for worse. '
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