From dystopian landscapes to sensory connections – meet the innovators challenging the boundaries of creative expression. At the intersection of art, technology, and social commentary, four graduates from the University of the Arts London (UAL) are pushing the limits of what contemporary art can achieve. Hailing from Camberwell, Chelsea, and Wimbledon Colleges of Arts, each artist explores diverse yet deeply resonant themes – from Lingyue Hu’s dystopian landscapes critiquing humanity’s environmental destruction to Alicia del Pino Dolz’s sensory-driven projects that question human compatibility through technology. Nick Willis reimagines alternate realities in set design, while Rose Christie-Miller finds raw human emotion in the most unexpected spaces, like Berlin’s underground club culture. In this collective interview, these graduates share how their time at UAL has shaped their work and how they aim to impact the future of art and design.
BA (Hons) Fine Art: Computational Arts, Camberwell College of Arts, Class of 2024
hube: Your project appears to explore the aesthetics of dystopia and wasted landscapes, focusing on the tragic consequences of human interaction. What inspired you to get deeper into these themes, and how do you hope to provoke thought or conversation through your work?
Lingyue Hu: My exploration of dystopian themes and decaying landscapes arises from a profound sense of grief over the irreversible damage humanity continues to inflict on both the environment and society, particularly in this age of rapid technological advancement.
From an ecological standpoint, events like nuclear waste spills and the depletion of water resources are stark reminders of the escalating environmental crisis. On a societal level, unchecked industrialisation and the rise of hyper-intelligent technologies have worsened global conflicts, leading to atrocities on an unprecedented scale. The dominance of social Darwinism and reverse selection, which prioritise survival at the cost of ethical considerations, is becoming disturbingly prevalent.
Much like the unsettling visions seen in dystopian literature, the fragmentation of information in our society erodes critical thinking, disassembling coherent narratives. Through my work, I use visual language to forecast the dire consequences of human interference, aiming to provoke awareness of the looming threats of environmental collapse and social destabilisation.
h: The concept of a ‘chaotic system’ seems central to your work. How do you translate complex theoretical ideas into visual forms, and what challenges do you face in making these concepts accessible and engaging for a broader audience?
LH: I draw upon chaotic art styles, utilising predominantly visually metallic yet environmentally friendly, recyclable, and degradable materials to represent the paradox of disorder caused by human intervention.
In my work, I explore temporal chaos through the incorporation of steampunk mechanical elements and futuristic transparent materials. These choices make the piece appear weathered by war, embodying a sense of time that feels disoriented. The blurred timeline invites the viewer to question whether the destruction is from the past, present, or future.
Through wasteland aesthetics shaped into marine life forms, I investigate spatial chaos, where human interference disrupts the natural order. By breaking the self-similarity of nature and merging oceanic forms with lands, I ask whether this signifies the collapse of nature itself.
The burn marks and rust in the sculpture symbolise the past, while the melting elements suggest both motion and stillness, encapsulating temporal chaos once again. This interplay raises the question: is the catastrophe frozen in yesterday, today, or an unknown future?
Finally, my work also reflects functional chaos. Burdened by utilitarian motives and complexity, it mirrors my turbulent existence. In this state, order and chaos coexist, embodying my restless and unsettled self.
h: Your work reflects a strong narrative around the doomsday aesthetic and the irreversible impact of human actions. How do you use visual elements to convey the urgency and gravity of these themes?
LH: My work aims to convey the urgency and gravity of humanity’s irreversible impact by using visual elements that mirror the chaotic disruption of natural processes. The fragmented body of the mermaid, for example, represents how biological self-organisation, viewed through the lens of chaos theory, has been shattered by external human interventions. These uncontrollable forms serve as a critique of recent incidents like nuclear waste leaks, which have disturbed the natural self-regulating processes of marine ecosystems.
In chaos theory, Belousov observed that a chemical mixture could oscillate between murkiness and clarity without external interference, suggesting a reversible, self-sustaining system. In contrast, my artwork draws attention to how human actions – such as the misuse and depletion of water resources – have interrupted these natural cycles, leaving behind barren wastelands where life once thrived. By visually portraying this degradation, I aim to evoke a sense of urgency around the consequences of these disruptions. posterity
h: Considering the dystopian and tragic themes in your project, what do you hope viewers will take away from your work? Do you see it as a form of cautionary tale, or is there an element of hope or redemption?
LH: The sense I aim to leave with viewers is doubt. I want them to question their role in environmental degradation and how it may shape the future. My work oscillates between tragedy and hope, and I leave it to the audience to decide its meaning.
I also critique how technology shapes our behaviour and environment, drawing on ideas like technological feudalism and hegemonic infrastructures. Inspired by Yuk Hui’s critique of human-centric technology, I encourage viewers to rethink their relationship with nature and technology and consider whether we can break free from this destructive cycle.
h: How has your education at UAL helped you in translating complex theoretical ideas into visual forms? Are there specific aspects of the curriculum that you found particularly beneficial?
LH: My time in the BA (Hons) Fine Art: Computational Arts course at Camberwell College of Arts has been instrumental in helping me translate complex theoretical ideas into visual forms. As I delved deeper into things like comprehensive analyses, research, and cultural contextualisation aspects, I found that they added layers of meaning to my artwork, allowing me to articulate my ideas more fully and thoughtfully.
The curriculum’s emphasis on realising ideas, analysing work with intersectional awareness, and maintaining ethical practices has been particularly beneficial. My first art project, which was based on physics theories, marked a turning point for me. After presenting it to my tutor, Alex Veness, I found myself over-explaining and apologising for my language skills and emotional expressions. He reassured me, saying, ‘You don’t need to over-interpret yourself for others, nor do you need to apologise frequently. I hope you can always maintain this poetic, mysterious, and turbulent state’. His encouragement helped me embrace my unique artistic voice and approach, which has been crucial in translating complex concepts into visual forms.
h: How do you perceive the role of modern education at UAL in addressing the global issues that your work touches upon, such as environmental degradation and dystopia?
LH: At Camberwell College of Arts, the interdisciplinary approach has empowered me to address global issues like environmental degradation and dystopia through my art. The curriculum encourages critical thinking and combining theory with practice, allowing me to explore the intersection of creative expression and societal concerns. For example, my mermaid sculpture critiques human impact on oceans, using eco-friendly materials, and stands as a reflection of how UAL fosters awareness and engagement with real-world issues through art.
BA (Hons) Fine Art, Chelsea College of Arts, Class of 2024
h: Synctap explores the concept of compatibility through sensory experiences. What inspired you to focus on the senses as a medium for exploring human connections, and how do you believe this approach changes the way we perceive relationships?
Alicia del Pino Dolz: I am a BA (Hons) Fine Art graduate from Chelsea College of Arts but did a year of creative computing, where I learned to work with various sensors – like those measuring distance, temperature, and light. A previous project of mine involved creating a ‘dating app from the future’ that used a biometric sensory bracelet to help users gain insights into their emotional states. I was exploring how technology could help people track emotional patterns throughout their day – when they’re feeling relaxed, anxious, or triggered. Through this, I explored how physiological data like heart rate, skin conductance, movement, and temperature could be linked to emotional responses.
Synctap is a continuation of that project, demonstrating the potential of this technology to figure out things like: does this relationship make me have toxic traits? What kind of behaviours do I like emotionally? Do these behaviours align with what I want? These are just some examples.
My goal was to use technology in a positive, data-driven way to help people understand emotional compatibility, avoiding a dystopian narrative and instead focusing on self-awareness. For context, Synctap is just a demo that creates graphics depending on your skin conductance (that changes when your emotional levels are high or low). To get to this data one would need to keep measuring their emotions for a longer period, not just for some minutes.
h: Your project integrates technology with sensory experiences to explore compatibility. How do you envision the role of technology in enhancing or complicating human connections in the future?
AdPD: We often hear about how technology isolates or distances people, which can create a negative, dystopian view. However, I wanted to explore how technology can make life easier and improve connections, depending on how we use it. I believe it’s up to us to shape our experiences, creating communities and fostering shared interactions rather than staying isolated.
Also for this project, I added AI card souvenirs that users receive after engaging with the installation. The cards have random AI-generated advice that are presented as their ‘results’. It highlights the idea that while technology can offer insights, we must remain critical and not blindly follow its suggestions, especially for those who might feel lost. The AI cards serve as a playful reminder of how easily people can adopt new beliefs without question, much like we’ve seen with the polarisation of trends on the internet.
h: Synctap merges design, technology, and psychology. How did you navigate the interdisciplinary nature of this project, and what challenges did you face in ensuring each element complemented the others effectively?
AdPD: I’m not a programmer or scientist, so I approached these complex subjects through the lens of art and design, particularly speculative design. The space in which the final installation would be presented played a big role in bringing all the elements together. Inspired by interactive exhibits and science games in museums, I aimed to incorporate graphic, video, and interactive components. This allowed me to challenge myself and showcase my abilities while working under the theme of a ‘fictional company’, which unified the project.
h: Your work often seems to intersect with themes of human interaction and the role of design in facilitating meaningful connections. How do you approach the challenge of designing experiences that resonate on a personal and emotional level, and what drives you to explore this intersection in your projects?
AdPD: I’ve been inspired by teachers and alumni from the Creative Computing Institute at Camberwell College of Arts, UAL, like Tigris Li, as well as graduates from RCA’s MA in Global Innovation Design course, and other related courses. I looked for students’ showcases rather than galleries, as well as books about design exhibits and fairs.
The book Speculative Design had an especially significant impact on me, as it explores the intersection of art, technology, and society. I’m intrigued by how technology can give people new perspectives, since we can see what other realities are like, even through VR journalism projects such as The Displaced, by The New York Times. I also looked at how technology physically adapts to individual needs, particularly for those with disabilities, and how designers have a big responsibility to design with empathy to create a meaningful and harmless path for technological advances in the future. All these things inspired me to learn about what designers and artists are doing and how they are key in designing the future we want.
I don’t know if my projects resonate on a personal and emotional level, I think it depends on the person that interacts with them. Games, video and immersive art create a more personal experience. In an exhibition full of so much interesting art which can sometimes feel overwhelming, I wanted my space to be a place for people to stop and look at vivid graphics. Through their feedback, I understood that it did resonate with many of the viewers, especially when they understood that the graphics were created by their skin conductance levels. The calm music also made people come close and stop to immerse in the piece.
h: How did UAL’s interdisciplinary environment help you in merging design, technology, and psychology within your project? Were there any collaborative experiences that particularly stood out?
AdPD: During my sandwich year at the Creative Computing Institute, I gained confidence in creating more technically involved projects by learning about programming and interaction art. I also collaborated on projects involving touch-sensitive sensors, which played a role in this installation. Then my Fine Art tutors at Chelsea College of Arts helped me adapt my ideas to my skills, and the technicians were very friendly, open, helpful and even personally involved in the project! They gave me very good advice and were passionate and driven about my project.
h: In your opinion, how does the education at UAL foster interdisciplinary approaches, particularly in the context of integrating technology with design and human experience?
AdPD: UAL offers courses that bridge different disciplines, in my case I did Fine Art, but with the sandwich year I had great context to learn to combine technology with design. It was something I was interested in high school; something that since then I left aside as I thought these were very different fields and had to choose one.
I spent a lot of time in the library reading design books and exhibition catalogues, which broadened my approach. I took advantage of the freedom that the Fine Art course gave me to pursue projects that blended various fields.
BA (Hons) Production Arts for Screen, Wimbledon College of Arts, Class of 2024
h: Your project reimagines an alternate Britain with a profound focus on set design and graphic props. How did the themes of the novel influence your creative decisions, and what challenges did you face in translating such a rich narrative into a visual medium?
Nick Willis: Noughts & Crosses depicts an alternate Britain in which the dark-skinned ‘Crosses’ rule over the ‘colourless’ ‘Noughts’ after Africa colonised Europe centuries prior. As a result, the book deals with a variety of heavy themes, and I made it my priority to respect and approach any issue with as much contextual knowledge and sensitivity as possible. For me, it all boils down to research when you’re dealing with a narrative as rich as this one. There was a lot to unpack in this alternate history so I started by researching actual history and chronicling as much about Britain and West Africa’s past as I could. Of course, I didn’t have the time to examine every facet of the different cultures’ history so I focused particularly on the Transatlantic Slave Trade and how that was linked to Empire – in both continents. Once I had my overview, I could come up with my interpretation of how the Noughts & Crosses world came to be – as this is not explicitly explained in the text. From there, I ensured to gather as wide a selection of visual references as possible to inform my designs. The novel was written in 2001 and I was keen to keep it period accurate so a challenge became how to combine both traditional English and West African architecture with noughties details. I came up with rules for myself: all the external walls/structure would be Georgian and all the central intervention would be West African influenced, and then I would bring out the 2000s feel in the graphic detailing. I would never have come up with this combination (which I believe ended up working well) if I hadn’t done all that prior research – starting with the text and highlighting keywords before gathering and creating my own imagery.
h: Your work in theatre and film often requires a seamless blend of art direction and graphic design. How do you approach the integration of these disciplines to ensure a cohesive visual narrative across different mediums?
NW: Personally, I know I’m a perfectionist and a stickler for details. And that’s what I love about working with graphics. It’s all the details that 99% of people won’t see but do, hopefully, still feel. I always view art direction as the broader overview of how the set looks.
Both are just as important as each other and have a symbiotic relationship which is crucial for creating a cohesive visual narrative. As I’ve stated, I always start with my research and create the overall narrative behind a set. Once you have that basis, you can then funnel down into all the small details, e.g. what does the magazine a character is reading say about them? I often run both strands in a parallel as usually one sparks ideas for the other, making notes as and when I think of an idea.
As much as it’s about adding that extra detail, it’s also about knowing when to stop (most often because you don’t have the time!) so the skill becomes knowing at what point you have enough so that both disciplines have the same opportunity to shine. That’s the key to creating cohesion.
h: In your reinterpretation of Noughts & Crosses, you’ve utilised Rhino 3D for your interior set design. How does working with 3D modelling software influence your creative process, and what advantages does it offer in bringing your conceptual ideas to life?
NW: The biggest advantage of using CAD software like Rhino 3D for design work is the ability to accurately portray scale and definitive measurements. Scale is crucial in Film/Theatre design and playing with it is how you can create dynamic designs. I find Rhino 3D makes it very easy to quickly try out concepts by blocking out shapes and adding a scale figure. My process does start with research and sketching but I quite quickly move into 3D as it allows me to expand on my concepts more sculpturally. Another benefit of CAD software is being able to add cameras. Film design is a particularly interesting discipline because although you are designing and building physical 3D sets, they are going to be viewed as 2D images on a screen. So, being able to use cameras in Rhino 3D to help visualise how your set might end up being viewed, is a really useful tool.
h: Your graduation project is both a creative and technical achievement. What was the inspiration behind this project, and how did you ensure that your vision was effectively communicated through every element, from set design to the smallest graphic detail?
NW: I first read Noughts & Crosses by Malorie Blackman as a child and was struck by its bold storytelling. I have always loved speculative fiction and possess a particular fascination with alternate realities – something I have explored in previous projects during my course. My first significant ‘jumping off’ point was visiting the Malorie Blackman: The Power of Stories exhibition at the British Library, in which I found out more about her as an author, as well as about her inspiration behind writing the novel. I then gathered my visual references – from Georgian Country Houses to West African Vernacular architecture, as well as film and paintings. For me to make sure my vision trickles down into every detail, I need to be sure of the narrative I’m telling. I like to write a mini synopsis and come up with backstories for the locations I design. That way, with all of the narrative and research done in the back of my head, as I create the minute details of a graphic – that knowledge is always there and subconsciously infiltrates my practice. You have to do all the research before willingly ‘throwing it away’ and trusting that what matters sticks. At the end of the day, this is film and not real life so creativity should be the driving factor and not reality.
h: How has your time at UAL equipped you with the skills needed to work across different mediums like theatre and film? Are there specific experiences that have been pivotal in your development?
NW: Throughout my time studying BA (Hons) Production Arts for Screen at Wimbledon College of Arts, we met with a range of practitioners working across different mediums and were allowed to collaborate with other students on different courses. This collaborative way of working was necessary to understand the skills needed to work in the industry. During my second year, I took part in a collaborative short film project – forming a crew with students from other specialisms including a BA (Hons) Theatre Design and BA (Hons) Technical Arts for Theatre and Performance. I was able to learn from my peers and build a multi-disciplinary way of working which I could apply to my own practice.
h: With the fast-evolving nature of technology in set design and graphic props, how do you feel UAL prepares students for these changes in the industry?
NW: I felt I joined UAL and my course specifically at a time of change. Throughout my studies, the programme was evolving to match the ever-changing industry. I learnt many more digital skills than I was initially anticipating – but I’m very glad I did. Software such as Blender and Unreal Engine are being used increasingly more in the film industry so having a foundation knowledge is crucial to keep up. We would have lectures from visiting professionals who were able to tell us what it’s like to be working now in the industry and provide us with advice on how we can best set ourselves up for when we graduate. Of course, there are always new advancements – towards the end of my course, AI was becoming much more prevalent as a tool in set design and graphics (for example, to generate copy for graphic props) and it’s just still too new to know exactly how it will shape the industry. But as long as we keep adapting and learning, then there’s no reason why we can’t harness new technology as a positive and useful part of our practices.
BA (Hons) Technical Arts for Performance and Theatre, Wimbledon College of Arts, Class of 2024
h: Your work often explores intricate relationships between identity and space. How do you approach the concept of ‘place’ in your art, and what role does it play in shaping the narratives within your projects?
Rose Christie-Miller: In my work, I often find myself gravitating towards spaces that have conflicting meanings and narratives. I set my piece in a toilet because it’s a space that serves as an interesting intersection between the private and the public. While being occupied within pretty much every public setting, its secluded nature is something I find as a form of escape. People often go to nightclubs, bars or other social venues and end with a moment of reflection. The duality of this explores a very simple but intriguing human behaviour within social environments. The toilet becomes a much more important room than just the basics of its functions, there is a rawness of emotion involved. Whether that’s sadness, passion or laughter, we have all felt some form of intense emotion within this setting. The toilet as a ‘place’ becomes much more than just a setting for my piece, it is an unspoken, private emotion that we have all felt.
There is a quote in the book ‘The Unbearable Lightness of Being’ by Milan Kundera. ‘Behind all the symphonies of Beethoven and the paintings of Rembrandt, behind all the ideas of Hegel, there is shit, hidden in the bowels’. We are universally connected through toilets and pipes, no matter who we are or where we are, the reality of our bodies ties us together.
h: Your pieces appear to have a deep narrative quality, almost like visual storytelling. How do you weave together different elements – such as texture, colour, and form – to create a cohesive story in your work?
RCM: Within my work, I often use an array of materials, I think it allows me to communicate the reality of settings such as the nightclub. I like to use found objects and raw materials such as dust, rust and discarded items, those you might find within nightclubs. Small elements such as these add a lot to the overall effect. My main objective with using materials was to create a piece where the spectator could look again and again and find different elements, they had previously missed. My piece also looks into realism. The realistic character that is sitting on the toilet is created through a variety of techniques and materials: sculpting, life casting and silicone work which all blend together to give life to my creation. Its material and technique have their role within the narrative, forming a crucial part of the story.
h: What was the inspiration behind your graduation project, and how did you develop this idea into a fully realised piece?
RCM: The inspiration for my piece came from a trip to Berlin. The club culture of the city left a lasting impact on me. The underground scene, the individuality and the thriving creative spaces created a very free-spirited aesthetic and nature. The strangely intimate and still chaotic moments of clubbing in Berlin became the main inspiration for my piece.
Through looking into these spaces, the toilet was where I found the most inspiration. The graffiti on the walls was almost like cave drawings to me, a record of past lives that had been before me. That solitude within everything stood out to me, and I decided to create my piece based on this. I tried to make my figure seem like a ‘unique’ person, grappling with the rest of the outside world.
h: Much of contemporary art grapples with the tension between the personal and the political. How do you position your work within this dialogue, and what message do you hope to convey to your audience?
RCM: My research into politics, particularly the fall of the Berlin Wall, had a great impact on my creative outcomes. Recognising the impact this had on the rave scene, and how the political shift changed Berlin showed me how important newly redefined spaces become for collective liberation. The toilet was a stepping stone that came from this initial research, it shows how research into politics can change our ideas into something harmonious with creative endeavours. The posters on the walls of my set were posters from Berlin. I placed older posters on first, slowly ripping them away and replacing them with newer ones, this process was almost like that time, moving on but not forgetting.
h: How has your experience at UAL influenced your approach to exploring identity and space in your work? Are there specific courses or instructors that have significantly shaped your artistic vision?
RCM: My experience on the BA (Hons) Technical Arts for Performance and Theatre course at Wimbledon College of Arts has had a great impact on how I explore themes such as space and identity within my work. The collaborative nature of this type of work meant that I was constantly working within or around others. It encouraged me to think about who I was as an artist in this world. It taught me how to be a team player within a world that is so often solitary.
One part of UAL that I found particularly important was having access to the 3D lab. Working with new skill sets and ambitions meant the technicians constantly being asked questions and demonstrating the right way of doing things. Experimentation was encouraged, but also preplanning – coming in with measurements and online material orders – was important as it is the industry standard. I truly believe that the technicians at Wimbledon College of Arts fully allow students to grow and learn most beautifully.
h: Collaboration can often bring new dimensions to an artist’s work. Have you engaged in any collaborative projects during your time at UAL, and if so, how have these experiences influenced your practice?
RCM: Through my work, I have developed a passion for forming connections with other artists and makers, as they all bring new insights and ideas into light. I have found that it means the final product isn’t the only important part of making, but also the process and dialogue along the way. It has made me appreciate the importance of time and patience. Juggling ideas and resources can be overwhelming but stopping and talking through ideas with others is something I have found is necessary to be able to create space within my mind. By learning to work with others and collaborate, I feel more confident and prepared for the future of my work.
Images courtesy of UAL and the artists
