Urban Riot. Mike Wagner, 2006

Urban Riot boxed World Cup game, including football supporter and police figurines.

In the year England qualified for the European Football Championship in Germany Michael celebrated by creating 'Urban Riot', a professional looking board game. To play it you simply roll out the green fabric football pitch, choose to be either drunken and bloodied English football supporters or helmeted German riot police, and pit your wits against your opponent in a good natured orgy of violence. The figurines were painstakingly adapted from toy soldiers; the box was designed using Photoshop.

Know What is Real. Jenny Efstathiou, 2006

Computer generated placards, digital photography.

In this reflective piece of work Jenny initially created a pack of small cards, each one looking at something important and deeply personal. To move the work forward she enlarged the cards to poster size and went into central London to give them to other people to hold and be photographed. There happened to be an anti-war protest in Trafalgar Square giving her plenty of material to work with. This development gave the messages an entirely new context and visually there are interesting moments - look at the way the sunlight is framing the woman in red in the foreground.

Fight Me. Kate Theodore, 2006.

Acrylic on canvas

A typical canvas from Kate. Aggressive, chaotic, hints of Bacon and Basquiat but totally Kate.

Kill TB. Jessica Baldwin, 2006

Poster produced as part of a Tuberculosis awareness screening campaign.

Jess was tasked with seeing how young people could be targeted in the fight against Tuberculosis. Her solution was to have the headline wording on the poster read like a 'text' message. There are few posters that use this technique and it was especially eye-catching and appealing to teenagers. The white shape at the bottom of the poster is for institutions to write details of the latest screening. The poster was used successfully by NHS.

Sand Snake. Sarah Goddard 2006

Glazed ceramic

This is one of a series of snakes made by Sarah; they are life-size and life-like. This was achieved successfully due to her technique of embossing the still moist clay with real snakeskin prior to firing. Photographing each snake in its natural environment was effective and made the photographs as important as the finished ceramics.

Vanity. Triona Palmer, 2006.

Dressing table, Perspex, florescent light, picture frames, clock, digitally manipulated photographs.

Before joining the Access course Triona was a newsreader on 'News at Ten', a reporter and a published author. She brought this wealth of experience to the programme (as do others), which in many ways was reflected in her work. This particular installation explores memory, what is real and not real and the duality of personality. On closer inspection the photographs on the dressing table tell a very different story when the back of the frames are viewed in the mirror.

Rabbit. Teresa Carpenter, 2006

Novelty jelly mould, acrylic resin, dead rabbit.

Teresa bought a jelly mould in the shape of a bunny rabbit wearing a big bow tie. Into this she chopped two real rabbits and poured acrylic resin into the mould. When the resin had set the mould was discarded revealing pieces of dead animal floating yet set in the bunny rabbit shaped sculpture, challenging the way we view animals as pets and animals as meat.

Monet's Houses of Parliament and the Thames. Diana Kolleva 2006

Plastic bags, PVA glue, canvas

Diana took Monet's iconic painting of the Houses of Parliament as the starting point for this canvas. What appears from a distance to be thickly layered paint is, on closer inspection a spectrum of coloured plastic shopping bags, questioning assumptions of the materials we use for representative image making.

World Anorexia Championship Belt. Jess Hammond 2006

Leather, brass, resin, diamante, gold chain, gold paint.

Jess was looking at anorexia nervosa as a way of representing self-image. Her research led her to chat rooms where she found sufferers to be competitive about how much weight they had lost. This evoked feelings of competition and the conclusion that at the end of competitions you win something. In this case, rather like boxers or wrestlers, the prize is a champion's belt. The ‘Anorexia Nervosa Featherweight World Championship’ belt combines humour, irony and making skills. Jess is an example of how someone can bring skills from their previous existence (Her mother was a leather craft worker who taught her how to make belts and wristbands as a child) and combine these with newly acquired critical thinking skills to produce work that would have been unthinkable before joining the course.

Figure. Nerida Dawkin 2006

Clay

This unique piece by Nerida bridges the gap between fantasy and British mid-20th Century figurative representation in sculpture. She went on to Camberwell (University of the Arts) to study sculpture at degree level

Words and Memories. Peter McNaney 2006

Engraved stones, sea shells, lazertran in wooden tray.
Dealing with positive and negative aspects of his life, Peter used a found drawer as the vehicle for a collection of objects. Positive messages appear on seashells through the use of water-based transfer paper. The stones, containing more negative thoughts were created differently. Informed by Ian Scott Findlay and his huge stone sculpture with the word 'Dream' carved into it, Peter created a number of smaller stones. Although they appear to be real the stones are made from air-dry Flymo clay with the lettering stamped into them by leather emboss lettering tools. When dry and hard they were painted to give a realistic finish.

Still from a movie. Lucia Gomez 2006

Glass, marble, plastic clothes pegs.
Lucia is a classically trained musician, which proved crucial in the context of this film. The image above represents a still from a movie created to explore the effects of light and shadows on illuminated coloured glass. Pieces of glass are anthromorphasised throughout the film to a piano soundtrack, with stunning results.

Campaign against female genital mutilation. Jenny Efstathiou 2006

2 from a set of 4 double sided flyers and poster.
Jenny's approach to graphic design is both serious and creative. Here she has produced a range of double-sided postcards and posters as part of a campaign against female genital mutilation (two examples featured here). The images are carefully composed to draw the viewer in. They encompass a range of ages and cultures; the colour palette is consistent and the link between front and back is faultless. A terrible subject addressed with power and sympathy.

Somewhere dark inside. Peter McNaney, 2006.

Wooden panels, graphite, chalk and toy soldiers.

Peter was coming from a very dark place when he made this. Nevertheless, the nine wooden panels, each about 8" square are exquisitly drawn.