We received over 90 incredible entries to this year’s MIMA Great Create competition, with some outstanding creativity expressed on our theme of the wonderful world of books. Difficult as it is to choose finalists from such an outstanding pool of creativity, our judging panel have decided upon the following 5 entries to go through to the finals on Saturday 18th March.
(finalists listed in numerical order of entry)
Entry number 25, by Hayley Harris
My illustration is inspired by Frances Hodgson Burnett’s book, The Secret Garden. I feel a strong connection with the book and characters, having lost a parent and being surrounded by wildlife and nature has helped to heal, give guidance and comfort. The scene that I chose to encapsulate is when the robin shows the way to the door and sadness is given some light and healing through nature. In my illustration, one side represents the four seasons in black and white, to show sorrow and grief. This gradually transforms into colour where nature heals the pain and shows light again.
Entry Number 25, The Secret Garden
Entry number 45 by Megan Keedy
I have created a photography piece relating to the books of the Twilight series. I have taken photographic images to inspire a dark setting with roses and gore/blood. Additionally, I have displayed my piece with dark red lights and more flowers . It relates to the book, by the end of the last scene with the fight of the vampires and the Voltari, and also the black and red robes.
Entry number 45, The Twilight Series
Entry number 53 by Rebecca Fletcher
This oil painting is based on the autobiographical book ‘The Bell Jar’ by Sylvia Plath. I was inspired to create a piece representing Esther’s descent into depression and regression into madness, to encapsulate the feelings in her book that could not be described. I intended to capture her breakdown, the horror and tragedy of her life and the societal expectations placed upon her by imprisoning the face with fingers. The possessive hands gripping onto her and confining the face were used as symbolism for the entrapment, anxiety and isolation that Esther felt at her lack of freedom.
Entry number 53, The Bell Jar
Entry number 61 by Tony Hamill
This is my entry for the book “Diary of a Young Naturalist” by Dara McAnulty. The book is written from the author’s perspective of an autistic young adult and is replete with scenes told from a unique perspective full of wonder and magic. This image is of grasshoppers and dragonflies in the undergrowth and is intended to capture the scene through the author’s eyes. It was digitally created, allowing me more control over the process of layered objects and background details. I used a process of pen and eraser to get a strong depth to the vines and undergrowth and make them appear intertwined.
Entry number 61, Diary of a Young Naturalist
Entry number 81 by Ayebabeledaipre Sokari
The illustration is for the book titled, Notes on Grief, by Chimamanda Ngozi Adichie. The scene is portraying the author writing down her thoughts in phases. It hopes to capture the forlorn moment of her pouring out all she felted about the death of her late father. The window representing a reflection of the past and present where she stays in-between thoughts. “Grief is forcing new skins on me, scraping scales from my eyes…. I cage my thoughts, I torque my mind firmly to its shallow surface alone. I am unable to quiet myself until I look away.” She speaks.
Entry number 81, Notes on Grief
A huge thank you to all entrants – the submissions were quite outstanding, making the judges jobs incredibly challenging. Our finalists’ work will be displayed in a pop-up-exhibition in MIMA (Middlesborough Institute of Modern Art) along with a showcase of all the 20 shortlisted entries from Saturday 18th March, when the overall winner will be announced at 4pm. If you would like to come along to the finals event from 3pm – 5pm please contact us on thegreatcreate@tees.ac.uk
Take a look at our courses in the School of Arts & Creative Industries
The School of Arts & Creative Industries at Teesside University, welcomed its first cohort of Curator apprentices recently and is looking forward to growing numbers on the unique programme. Professor Sarah Perks and Dr Paul Stewart comment on the success and popularity of this groundbreaking new apprenticeship
Teesside University are the first university to launch the Curator apprenticeship, leading the way with a highly experienced professional team and building on the reknowned work of MIMA (Middlesbrough Institute of Modern Art), an international art gallery and museum that sits at the artistic heart of the School of Arts & Creative Industries on the Teesside University campus.
Apprentice Curators at MIMA
The Curator apprenticeship is embedded into the MIMA programme, allowing apprentices access to all resources and also for students following the non-apprenticeship route to contribute to a range of events, projects and exhibitions as part of their learning. It benefits from a knowledgeable and vastly experienced team leading sessions, including our Professor of Curating, Sarah Perks, Dr Paul Stewart, Elinor Morgan (Artistic Director at MIMA), Helen Welford and Dr Pippa Oldfield – all based within the school. Tutors for the first module include Daniella Rose-King (Tate) and independent curator, George Vasey, with guest speakers including Emily Pringle (Tate) and Sophia Hao (Cooper Gallery, Dundee).
Apprentices in the MIMA Gallery
Professor Perks said
“Starting the first Level 7 Apprenticeship in Curating has been such a fabulous journey for myself and my colleagues in the school and MIMA, we have been so excited during the design and implementation of the course and to be able welcome the first cohort to Middlesbrough has made it very real.
We have an even larger cohort for the next intake and a whole new module focused on access, inclusion and working with collections (of all types), with a large group joining us from the National Trust, as far away as Penzance!
We’re getting more and more enquiries from outside of museums and galleries which is really exciting. It’s also helping our research into curatorial strategies too, where we are very focused on activity with local communities and nature recovery.”
Taking part in an intensive study week
The Curator apprenticeship benefits from an intesive block delivery model, with apprentices required to attend 3 one-week blocks of learning across each year of the 2-year course. On completion of the apprenticeship the award of MA Curating is received alongside the Curator Apprenticeship.
Dr Paul Stewart leading a taught session
Dr Stewart comments
“It was a fantastic experience to work with such a diverse and passionate group across multiple areas of curating, from galleries to archives across collections and public programming. The course has really developed a fantastic peer group and solidifed the need to further establish new ways of learning and teaching across the arts and curatorial sectors that support new and multiple entry points.
The apprenticeship builds on the work MIMA already does, connecting art, people and ideas to empower creative lives and positively contribute to the community.”
Apprentices in the MIMA Gallery
Further information about the Curator Apprenticeship
Since graduating from Teesside University with a degree in Fashion Design, life has been a whirlwind for designer Emily Dey. A graduate programme was followed by the opportunity to take part in a once-in-a-lifetime Modern Artisan training programme, giving her the confidence to launch her very own fashion brand. Emily tells her story here…
I began the Modern Artisan programme in London, September 2021. I’d applied for the programme a couple of months previously and waited till the final day before the applications closed as I couldn’t stop swapping and changing my CV and portfolio until the last minute. When I got an interview I couldn’t believe it and rehearsed for hours what I was going to say.
The whole application and interview process was rather intense and very competitive, so when I finally found out I’d secured a place on the programme I was beyond ecstatic.
Before the programme I had just taken part in one of the Teesside University Graduate programmes. I worked for 3 months between the University and MIMA helping curate a sustainable materials library alongside different innovative fashion items. This was all part of the award-winning Chemical City Exhibition shown at MIMA (winner of the Best Exhibition category in the NE Culture Awards). I think that having this experience with the university and being able to curate all the knowledge of sustainable and innovative fabrics really enhanced my chances when applying for Modern Artisan, as that is really what the programme is all about… a sustainable, ethical and innovative future for the fashion industry.
Emily Dey designing her branded fashion collection
I had heard about the Teesside University Graduate programme from my previous tutor, Lynne Hugill as I’d studied Fashion Design at Teesside University, graduating with a First Class Honours in 2020. Before applying to do Fashion Design I had very little experience on a sewing machine and zero experience pattern cutting – I just liked clothes and designing. Everything I know about creating garments and sewing began at university and I fell in love with it straight away. I have Amanda Jobling and Vicky Wake to thank for teaching me everything about sewing and pattern cutting. They set me on the path to being a Modern Artisan, where I refined all I was taught at university.
In October 2021, The Prince’s Foundation and YOOX NET-A-PORTER unveiled the new artisans in training for the second edition of the responsible luxury training programme at the pre-COP 26 event hosted by the UK Government’s Department for International Trade in Milan. This year’s programme brought together eight artisans, four British fashion and textiles graduates, along with four Italian graduates from the leading Italian design school, Politecnico di Milano. Us artisans embarked on a collaborative ten-month paid training programme, with design training guided by experts from YOOX NET-A-PORTER and industry mentors, and training on small batch luxury production and heritage craftsmanship skills to help build capacity in the UK delivered by The Prince’s Foundation.
King Charles and Emily at Dumfries House
In January 2022, all eight artisans came together at The Prince’s Foundation’s Dumfries House headquarters in East Ayrshire, Scotland. We lived and worked here for six months of intensive training in luxury small batch production. Throughout our time at Dumfries House, we gained the skills to handcraft the entire collection to the highest of standards.
Emily meets the now King Charles
Over the course of the programme, we also had industry visits in the UK and Italy and received ongoing mentorship from YOOX NET-A-PORTER, The Prince’s Foundation and brand partners, initial brand mentors include Gabriela Hearst, Giuliva Heritage, Nanushka, VIN + OMI, Johnstons of Elgin, Tiziano Guardini, Flavia La Rocca and ZEROBARRACENTO.
On the 3rd of November 2022, YOOX NET-A-PORTER and The Prince’s Foundation announced the launch of our responsible ready-to-wear luxury womenswear capsule collection. Available exclusively on NET-A-PORTER and YOOX, 50% of the RRP is donated to The Prince’s Foundation, to support its innovative training programmes. For the first time, Highgrove Gardens, adjacent to Their Majesties The King and The Queen Consort’s private residence, served as an inspiration for a fashion collection. The programme and capsule reflect the initiative’s commitment to advance sustainability in luxury fashion and preserve heritage textile skills. We also demonstrate the shared ambition of YOOX NET-A-PORTER and The Prince’s Foundation to preserve the planet for future generations. It is the first collection to align 100% with the Infinity Product Guide, its sustainability and circularity design guidelines, and its first ever carbon neutral collection.
Each piece is embedded with a Digital ID through YOOX NET-A-PORTER’s partnership with EON, leveraging innovative technology to create a more circular industry and responsible customer mindset by unlocking unique product insights as well as care and repair and resale services. The Digital ID also shares with customers how YOOX NET-A-PORTER worked with environmental consultancy Carbonsink to minimise, calculate, and compensate for the carbon footprint of each garment. Carbon credits support the Artisans’ chosen certified offsetting project: Kariba Forest Protection, which protects forests and wildlife and supports community-based training and upskilling on the Zimbabwean-Zambian border.
Now that the Modern Artisan programme has come to an end, I have been working hard on my own brand, Dey Studios. It has always been a dream of mine to own my own fashion brand and with everything I have learnt from Modern Artisan, I feel that now is the perfect time to take the leap.
Dey Studios fashion brand
Dey Studios an independent, British slow fashion brand designed and founded by myself, Emily Dey. Every garment is carefully hand-made using sustainably sourced or dead-stock fabrics. All items are made on a pre-order basis to prevent wastage. This means every item is made in a much more responsible way. In the past, clothing was made to last – nobody ever thought to wear something once then throw it away. We invested in clothing we loved and wore it over and over again and if it broke, we’d simply fix it. Dey Studios wants to bring this back to the norm. Every item is lovingly hand-made in the North East of England, and made to be worn again and again. Dey Studios is reminiscent of all things fashion, film and music of the past. Not only were things made to last but they were beautiful too.
Each garment gives a nod to past decades where ‘fashion’ wasn’t important, as long as you had ‘style’.
When it came to owning my own brand, I needed all the support I could get so when I moved back home to Teesside, I applied to be part of the Launchpad FUEL Programme here at the university. The FUEL Programme is a 7 week Graduate Start-Up Programme where I was able to take part in numerous workshops and mentoring sessions all dedicated to helping founders learn about all stages of starting a business.
Check out Dey Studios’ Insta page @_deystudios
The FUEL Programme has taught me so many aspects of running a business that I otherwise wouldn’t have known where to start. At the end of the 7 weeks, each business founder had the opportunity to pitch to the trustees for grant funding. I was delighted to have been successful in the pitch and have secured grant money to help take Dey Studios to the next level. As well as funding I have also moved into studio space here at Teesside university, which is paramount when running a clothing brand so I am very grateful.
Follow Emily on Instagram at @_deystudios or email Emily on emily@deystudios.com
MIMA Creative Week is firmly set in the calendar for students in the School of Arts & Creative Industries – here’s what’s happening!
The week commencing Monday 24th October 2022 sees the start of our first of two MIMA Creative Weeks of this academic year, a week when we celebrate the diversity of creative subjects. MIMA Creative Week has been developed in response to student feedback, telling us that they wanted more time to develop their creative skills, the opportunity to explore the school’s wide range of facilities, take some time out to focus on their wellbeing and seek out new opportunities.
Victoria Graham, Waterhouse Building print studio
For this MIMA Creative Week we’ve put together an exciting timetable of activities, workshops, sessions and trips developed by academic and technical staff. Students and staff have access to a dedicated site which includes the timetable and a range of on demand content. Most workshops and sessions require booking, so students need to be quick off the mark to reserve their place!
The schedule includes a range of school workshops, both online and in our studios around the campus, including:
Career boost sessions
Photography workshops
Adobe & Microsoft accreditation sessions
Visual Arts sessions
Art to Object workshops
Belonging banner design
Create tomorrow together session
Art & Design workshops throughout the week include:
Laser cutting
Book binding
Turning
Cyanotype/Blueprint photos
Create your own Album art
Media workshops throughout the week include:
Introduction to the TV Studio
Camera sessions
Lighting sessions
Audio creation sessions
Editing sessions
Sound stage introduction sessions
Students wanting to know details of where to book sessions, check for an email and blackboard announcement titled MIMA Creative Week advising of the schedule, or contact saci-school@tees.ac.uk for a schedule to be sent to you.
Take a look at our courses in the School of Arts & Creative Industries
Rievaulx Abbey in North Yorkshire, an English Heritage site and home of the ruins of one of England’s most powerful Cistercian monasteries, was the venue for a recent Future Communities Journey for Teesside University students.
Students from the school of Arts & Creative Industries spent the day at Rievaulx Abby in North Yorkshire as part of a Global Future Contexts module, culminating in the installation of a temporary artwork on site.The installation comprised students developing constitutions which were displayed on forms designed to represent shelter and community. The forms echoed both simple ‘tents’ and the rooflines of the Abbey which were lost during the dissolution of the monasteries.
Student installations
Students were encouraged to work in new surroundings and contexts whilst undertaking primary research and the history of the Abbey provided a lens with which to identify and explore contexts relating to community and social organisation.
A comprehensive briefing was provided for the day, explaining that the Journey was to explore contexts relating to time, community, politics, economics, resources and identity. The module theme of People & People was to be discussed through a temporary installation built by the students on site at Rievaulx Abbey. Students were able to consider the history of the site, drawing links with contemporary times in order to present a speculative vision for a future community.
The briefing went on to give context to the surroundings:
As artists and designers we often create forms of visual and material culture that relate to specific people, times and places. This Journey takes place amongst the ruins of Rievaulx Abbey, a Cistercian monastery built next to the river Rye. Founded in 1131, the monastery grew into ‘one of the most powerful and spiritually renowned centres of monasticism in Britain.’ Changing political contexts led to the monastery being violently suppressed and dismantled by order of King Henry VIII in 1538. Now the ruins are a recognised national historic monument cared for by English Heritage.
Students were encouraged to consider historical and contemporary social and environmental contexts including:
Community structures
Rules and laws
Resources and economics
Foundation, formation and decline of communities
Centralised and decentralised organisation
Political repression and censorship
Trade, barter and exchange
Working in groups and using their findings from research at Rievaulx and their own prior knowledge, students created the constitution and material culture (artefacts) of a local future community. The constitution was presented in the form of a shelter that was erected alongside the constitutions of other communities. Each shelter displayed: 1. A written constitution outlining community resources, social organisation and ways of being. 2. Symbolism and ideologies expressed as selected artefact(s). (i.e. tools, garments or graphics)
Student groups developing constitutions
Groups were also asked to provide information on social organisation, rules and laws, resources, production and trade, transport and forms of energy use for their community. Once shelters were erected they were then asked to vote for the community they wanted to live in and the best thinking and presentation of idea
Each constitution was drawn onto fabric and suspended in a frame provided.
“Reborn” constitution
Angela Peirson, Education Visits Officer at Rievaulx Abbey said
Staff and visitors alike enjoyed the work created by the students. The linking of the rise and fall of the community of monks with students then setting up their own community constitutions and displaying them as tents gave an interesting visual display as well as plenty of food for thought for us all.
The workshop was designed and delivered by Senior Lecturer, Charlie Tait, whose teaching practice often involves co-creation with students through learning partnerships. Charlie commented:
English Heritage representatives were really enthused by the unique approach to the site which started with an excellent contextual introduction to the Abbey tailored to the aims of the workshop by site guide Dr Greg Hoyland.
Students worked hard on the day and it was particularly inspiring to see them engaging as teams within the ruins as they set about the creation of their communities
Putting the frames togetherOne of the constitutions attached to the frame
The Global Future Contexts module is studied in the second year of a 3-year Arts degree and supports students in investigating a range of contemporary social, environmental, technological and ethical issues to inform all types of art and design practice. Students broaden their understanding of creativity as a practice-based form of contemporary social discourse and explore a variety of issues through the development, production and presentation of potential future scenarios.
The module is taught on the following degree programmes:
Words on clearing and a secret revealed by Angela Lawrence, our Associate Dean for Marketing and Recruitment
One of the first WhatsApp messages I received on A Level results day this year was from a friend to tell me that her colleague’s son had not met his grades and he was devastated. It’s so hard to hear these words – devastated, destroyed, heartbroken. My “go-to” response is to quote from Winston Churchill, who said
“Success is not final, failure is not fatal: it is the courage to continue that counts”
Whichever way you look at it, this years university applicants have had a rough ride. They never experienced GCSE exams, but then had to take A Level examinations. They without doubt had a less than perfect learning experience during lockdown despite all the very best efforts of their teachers – it was just not the same as sitting in a classroom alongside friends each day. So to not get the results they hoped for probably feels like yet one more kick in the teeth following a uniquely unorthodox two or three years of study.
I’ll let you into a secret. I went through clearing, way back in the 80’s. It was actually my own fault – I didn’t work as hard as I should have done for my 4 A’ Levels and if I’m honest, I wasn’t completely surprised to find out that I hadn’t got the grades I needed to get in to my chosen uni. Nonetheless I felt that fear and devastation that so many applicants tell us they feel. Fortunately, my parents hit the clearing lines and it wasn’t too long before I had a couple of offers to choose from…roll forward several decades and I’m now close to completing a Doctorate. I am NOT a failure
Things have changed so much since then. Clearing is so much more accessible and such an easy process. Clearing is not seen as failure, but as opportunity. We’re told that there are far more applicants in clearing this year and I can speak from experience and say that our lines were incredibly busy on A Level results day. We’re also speaking to lots of mature students, many of whom are realising that their dreams too can be fulfilled.
It’s hugely satisfying to know that we are turning devastation into delight and heartbreak to happiness through clearing. So if you didn’t get the results that you hoped for, pick yourself up, dust yourself off, don’t see this as failure but as a new opportunity, and in Churchill’s words, have the courage to continue!
Students from the School of Arts & Creative Industries at Teesside University have teamed up with the Ryevitalise Landscape Partnership Project to create a series of installations for The Rye Reflections Art Trail, which can be visited throughout the Summer at Sutton Bank
Graphic Design students created 5 installations which can be seen along the Art Trail – visitors are able to collect a map from Sutton Bank Visitor Centre which shows exactly where each installation is sited. The pieces have been inspired by memory landscape and changing human relationships to nature, agriculture, and technology.
The Great Outdoors by Hazel Tilley
Central to the development of ideas have been oral histories collected as part of the Rye Reflections project. Details of each installation and the accompanying oral history extract can be seen on the Teesside University web page
Students were supported by Senior Lecturer in Graphic Design, Charlie Tait, an inter-disciplinary designer who often works with cultural and heritage based subject matter. Charlie said:
This project has required a deep engagement to develop creative responses that function in this specific environment. I think the students would agree the project has taken them into new areas of practice and given valuable insight into the practical constraints of realising their work.
We have worked together to analyse research, question concepts and test materials – it has been magical to see this work installed and reflect on the journey each student has been on as they respond to feedback to take their ideas forward.
The project has included an initial field trip with artist, Paula Hickey, and photographer, John Arnison, as well as presentations to project officers, Amy Carrick and Francesca Pert. These experiences have helped students gain insight into the collaborative nature of creative work. I would like to specifically thank our expert workshop technicians; their positivity and knowledge of materials has been invaluable.
‘R’ by Zhipeng Qiu
The installations will remain on the Rye Reflections Art Trail until October 2022 and represent a unique opportunity to see how students in the School of Art & Creative Industries work on live project briefs as part of their degree course. For further information about courses in Art and Design please visit the following pages
It’s hard not to hear about the cost of living crisis, with food, petrol and utilities prices soaring daily – UK gas prices have now hit a three month high. With the government urging businesses to slash prices, how will this affect brand pricing and brand loyalty as we tighten our belts to make purchase decisions? Associate Dean, Angela Lawrence talks of her own brand loyalty challenges.
I love a tin of Heinz tomato soup, the flavour reminds me of my youth – Dad opening a family-sized tin of soup, warming it on the stove and dishing it out to our eagerly awaiting hands, scooping bowls like real life Oliver Twists. I’ve tried various supermarket brands, cheaper versions of tomato soup, but quite honestly nothing tastes quite like Heinz (with a dash of Lea & Perrins Worcestershire sauce!).
We’re told that Britons are paying almost £3 more for an average 20-item shopping basket than 12 months ago and as my weekly basket cost increases, I noticed whilst browsing the supermarket shelves of late that my beloved tin of soup has now increased in price to well over £1. As I write, it is on offer at £1.10 in Sainsburys compared to 59p for their own brand version. A search online shows that I’m not alone in loving that Heinz taste and that the Asda version at 50p is as good as it gets. So, naturally I’m going to give it a try – if it hits the mark then Asda could become my new best friend.
So, I am prepared to sacrifice my loyalty to the Heinz brand and The Grocer magazine reports that up and down the country frugal shoppers are making similar decisions – 34% of us are switching branded products for cheaper alternatives. Yet as a marketer, I am passionate about branding, I teach students about branding and I recognise the importance of branding for business success. Branding enables businesses to grow loyalty, to command higher prices and to stand out and be recognised amongst competitors.
However, it’s not all about selling at a higher price – businesses invest heavily in branding campaigns and seek to connect with their target audience with strong branding. If we want our country to crawl out of the threatened recession then we surely want businesses to be successful – it’s not just the powerhouses such as Heinz, but the SMEs up and down the country who all invest in, and rely on branding for business success.
The struggle is real and the branding dilemma seems to be affecting stocks of branded products already, my favourite soup included. I wonder whether this is the end for branding – will newly formed shopping habits remain once this cost of living crisis is over, or will we simply revert to making purchase decisions based on brand loyalty? Will belief in the power of branding be damaged and will brands ultimately have less power? Perhaps brand owners will have to consider new tactics to appeal and maybe trimming a penny or two here and there will make the difference.
Lots to ponder over and I’m not sure that I have the answer, but I’m looking forward to healthy discussions about branding when students return to Teesside University in September. Meanwhile, I might just nip to Asda now, to purchase that tin of soup… which may help me to make up my mind!
The School of Arts & Creative Industries offers a wide range of courses that include modules on branding – here is a selection to browse through:
Studying for a masters degree is usually an option for anyone who has achieved a 2:2 or above in an undergraduate degree, although relevant professional experience is also considered. There are many reasons why people choose to study at postgraduate level, here are just 3 that prompted students to join the School of Arts and Creative Industries for their Masters degree study
Passion for a subject – many students just want to immerse themselves even further in the subject that they love. In the creative industries, often postgraduate students already run small businesses or sell their creations, so love to immerse themselves and learn even more about the subject that they love. Here’s what mature student Suzie Devay had to say
Employability – having that higher level qualification can make graduates more attractive to employers, so students often decide to further their studies to open more doors to their future career. Postgraduate study opened the doors to Neil Fatkin’s career in Journalism
Earning potential – evidence suggests that graduates with a postgraduate qualification have an increased lifetime earning potential. Hannah Cheetham decided to stay on to study at postgraduate level and aspires to progress to director level within a communications agency.
Emma graduated with an MSc Advanced Home Futures
With postgraduate loans of up to £11,836 and help available to find out what you may be entitled to, study at the School of Arts and Creative Industries may be more accessible than you think. You may also be eligible for one of our postgraduate scholarships.
Hannah graduated with an MA Multimedia Public Relations
Whatever your reason, we’ve got a wide range of creative postgraduate courses available, many of which can also be studied with Advanced Practice, enabling you to enhance your qualification by adding a second year of vocational or research based internship to the one-year master’s programme – take a look at what you could study (in alphabetical order of subject):
In January we launched our first MIMA Great Create competition, open to anyone over the age of 16 in the North East. With a regional theme, we invited entrants to tell us about their love of the North East in a creative way and a wide range of drawings, paintings, illustrations, comic strips, graphic designs, fashion designs, videos, photographs and musical pieces were sent in.
Five of our finalists (left to right) Airen Sopany, Jake Beddow, Jonathan Raiseborough, Ella Miller and Grace Coverdale
Picking a winner was a daunting task for our illustrious panel of creative industry judges, from Film Producers to Cartoonists and Heads of Brand, who anonymously marked each entry against its fit to the brief, creativity, originality and ability to convey a lived experience of the area, amongst other things.
Finalist’s entries on display in the MIMA foyer
Six finalists were selected and they brought family and friends to join staff from the School of Arts and Creative Industries for an informal finalists celebration lunch on 28th May at the MIMA Gallery, where a pop-up exhibition of their entries was displayed.
MIMA Gallery Artisitic Director, Elinor Morgan announcing the winner
Elinor Morgan, Artisic Director for MIMA Gallery announced the winner of the Apple MacBook Pro – Jonathan Raiseborough for his illustration “Boro Skyline”.
Winner Jonathan Raiseborough
Second place went to Ella Miller for her risograph print
Second place winner, Ella Miller
and third place went to Airen Sopany for her fabric and fashion design.
3rd place winner Airen Sopany
Comments on the winning entry from our industry judges included:
The line work and composition in this image is just extraordinary. I love the limited choice of colours. The sense of space is really interesting as well taking it from the natural to the urban in one image but presenting it as a ying and yang rather than as contrasting forces.
Beautifully detailed, from top to bottom. It really makes the viewer feel as though they know the area. Really nice use of colours, shading (especially on the water) and composition to draw the viewer in.
A lovingly executed work. So much to see, all beautifully tied together and well organised. Not a bit of wasted space. An excellent evocation of the wild, unseen side of Teesside, much appreciated by those who know about it. Thoughtful and well done.
The success of the inaugural MIMA Great Create competition has motivated us to continue with a new competition to be launched in September. The new theme will be revealed on our competition web page and lecturers will be visiting schools and colleges in the region to tell students how they can enter, so keep your eye on this page for news coming soon!
Finalist Grace Coverdale with her acrylic painting on canvas ‘The decline of the Teesside steelworks industry’Finalist Jake Beddow with his musical composition representing the history and current story of the Teesside region.
