Art in Progress, Stories in Motion, the ever-evolving Student Creative..
In a world rushing toward certainty, there’s something revolutionary about being unfinished.
That’s what you’ll find in these pages: not perfect, not polished prose, but something braver: voices still becoming. Emerging Voices is a zine devoted to the raw, restless energy of student creators. These are the poets, illustrators, essayists, and dreamers making sense of the world in real time and letting you in on the process.
Most of our contributors are students, and some are resident writers for our zine, but don’t mistake that for limitation. Their work spans mediums and moods, and all are united by a need to create—and a refusal to wait for permission.
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OUR Resident Artist and writer Michaela Hall
See more of her work in our blog here…
To study or not to study?
In light of the special edition this month focusing on those studying art, I thought I would share a few thoughts about art and study. I think a question often asked by creatives and artists is whether they should study formally or carve out the industry by themselves and I think there is indeed massive merit to both. Creativity can be an extremely hard but also welcoming industry and people have to often muddle through the right thing for them their own way.
However, as we are discussing art students, I wanted to share some thoughts on how creative study can take you in entirely different directions and open up opportunities you may not have considered. I was lucky enough to study Fine art at a brilliant university that championed exploring your practice, trying new things, and expanding what you think you do or know. On a practical level, over the four years I studied, this transformed me from an artist who before would only paint and draw to someone who did neither of these things for my degree show and instead focused on more conceptual material sculptures and installation elements.
If you had told me this four years ago, I would have laughed and never believed it. After graduating although I do mainly collage and paint now, and in ways have returned to my early ways – I approach making work in a completely new way, with new confidence to try new things and not worry if it doesn’t quite go right the first time, doesn’t look like work I traditionally used to make or is a bit more experimental than usual. With study, not only did I try lots of weird and wonderful things that were sometimes brilliant (and sometimes a disaster!), but most importantly, I gave myself permission to play, explore, and just see what happened.
Another massive (and unexpected) change that came from my Fine arts degree was my love and future direction in writing. Starting my degree, I knew I enjoyed subjects like English and History but had no idea that it was the nature of these subjects in the form of writing that I loved more than the actual topics most of the time. There was a large percentage of Art History in my degree, and I adored writing about all of these topics in a new, analytical way. I also took up an optional module that was related to real-life experience in the art world, and I chose to explore art writing. Before I knew it, I was winning competitions for my art writing and spending lots of time writing and reviewing exhibitions – again, a completely unexpected twist I didn’t expect. Fast forward to now, seven years after graduating, as well as being a resident writer for this Zine, I have also written for a range of other magazines on culture and creativity. It’s become a massive part of my life that I plan to continue for a long time. It’s also helped me carve out a professional career in communications alongside my ‘art life’.
I guess the point I’m trying to make here is that everything that happened throughout my creative journey was not as I expected, in the best way. I endorse that for some people formal study isn’t the right avenue, but for me and I imagine so many others – formal study opened up my whole creative direction and gave me the confidence to try new things and become who I am today, something I would encourage for anybody wanting to explore their potential.
contact - https://www.instagram.com/michaela_hall_artist/
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Work By Our Resident Poet - Peter Devonald
More of his work and his latest news can be found on his blog here..
by Peter Devonald
You, The Future
You are the future, rising,
you are an inspiration, ascending,
new ways to see the world,
a vision of our lives, waiting,
galleries anticipating to be filled,
audiences yearn to believe again.
You paint the skies your unique way,
you articulate your most vivid dreams,
you are architects of your imagination,
you are blessed, talented and free,
our lives are better because of you,
be bold, be brilliant, be you.
It will be hard sometimes, trust me,
I know. Times the world just seems
not to understand, not to see you,
times you struggle to create the best
version of your world. Hold on, hang
on, survive – you will soon get through.
The whole world is your playground
we await your next unique creation,
with wonder, awe and majesty,
you are the next success story,
you are the future ripening,
you are the present, happening.
Winner! Peter Devonald! His poem No One Lives Here Anymore scored a staggering 39.5% of the vote
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Artist name - ifuseekamy
Link to Instagram @_ifuseekamy__
Biography
Currently in third year on BA Digital Art at University of the Creative Arts, ifuseekamy is a transdisciplinary artist enchanted by that which lies below; looking to the earth for soily solutions. The foundations of their practice begin with radical empathy, as they are unafraid to question, poke and prod limiting beliefs inherited by various institutional structures. Teetering the line between playfulness and seriousness, there’s an inherent fluidity to ifuseekamy’s practice as their artwork takes many forms such as prose & poetry, moving image, installations, performance and audio.
Description
How do we reckon with superstitions? Three Drains investigates the power superstitions have over us and how they are gateways to a world beyond our usual routines and structures. If the drains could talk, what would they say? There is magic underneath the concrete.
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THE DREADED ARTIST STATEMENT!!
Our Editor, Nichola Rodgers, has put together a few starting points for an artist’s Statement. We get all our mentees to focus on this in the first sessions because without a good statement, your work could easily be misunderstood.
By Editor and Artist @NicholaRodgers
Clarity – Focus – Flow – Tone
These are the four things you should be thinking about when writing your statement.
Have a range of three or four statements that can be adapted or interchanged depending on the audience they are for, such as public statements, academic statements, professional statements, open calls, etc.
What is an artist’s statement
Acts as an introduction to your practice.
Gives the reader a better understanding of your practice.
A basic artist’s statement can be adapted for all applications.
How to put a statement together
Explain specific concepts clearly and briefly.
Be selective when using complex or specialist language.
Describe the practice accurately and succinctly.
Say what you see: Discuss the physical qualities of your work in reference to the conceptual ones.
Explain decisions about how the work took shape and why it was made.
Use objective language when describing your work.
Include quotes from critics or reviews and reference any press coverage.
Write in the third person rather than the first person - good for journalists
Questions to ask yourself when writing an artist statement
Why do you work in this media? Is there a relationship between the media and the ideas that you work with?
What processes are involved in the work, and how are they relevant to the ideas you are dealing with?
What themes, ideas, and concerns does your work uniquely consider?
Are there any outside influences and ideas, perhaps from outside the arts, which have bearing on your work?
What ties your pieces of work together into a practice?
What is the 'intention' behind the work; what do you want the work to achieve?
Are there any particular theories, artists, or schools of thought relevant to your work?
Hopefully these notes are just starting points to help you on your journey as a creative professional.
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Artist name - Alison Dollery
Link to Instagram @alisondolleryartist
Website www.alisondollery.com
Biography
Alison Dollery is a Visual artist, writer, and curator who employs the materiality of her own body as both the medium and canvas of her work. She engages in diverse artistic forms, expanding her painting, drawing, photography, and performance/ body art practices.
These forms are unified around her lived experience, which she refers to as having a "Manufactured Body", a socially sculpted body that is also the artwork itself. Using her body as a canvas allowed her to assert ownership over her embodied experiences.
Alison holds a BA (Hons) in Fine Art (grad 23) and is currently studying at the Royal College of Art. Alison has recently given talks at the Royal Academy of Arts 2025, where her work was described as groundbreaking.
Professional Photography, Artists Body as a Canvas and Paint. Part of the Manufactured Body Aesthetics Series//Questions for Art and Body Language.
Alison Dollery. - On BECOMING the SUBJECT.
A lived experience.
Why I use my body as a canvas and research.
23/03/2025 Essay Excerpts From The Manufactured Body Project 2020-2025
"The problem is when you strip away the body, remove the fat and excess flesh, manufacture your existence through medical transformation and weight loss. You are left to deal with what remains on the body. How do you manufacture the body's materiality, its reality, embodied in body Image through art's historical discourse and social construction? My bariatric body is the main material within my art practice, my subject, and ultimately my body is the sculpture" (Dollery, 2022).
I qualified for bariatric surgery in 2017 for medical reasons following NHS guidelines on obesity and bariatric surgery. The surgery was performed laparoscopically on the 22nd of September 2017, using technological advancements. I spent two years before the surgery in NHS-approved programs working with physiotherapists, dieticians, and therapists to prepare my body and mind for the surgery and post-surgery management, including mindful eating techniques, studying nutrition, exercise, and social food management. I was aware of the social stigma and comments on deciding to have bariatric surgery as a way of cheating to lose weight or a waste of NHS public spending. Because of this, I found the surgery hard to discuss verbally.
I describe the surgery and my drastic weight loss transformation as being placed under the bariatric gaze and bringing the most substantial understanding of the performativity of the bariatric body in the speech acts surrounding discussions on body weight. Performativity is a term evolved from J L Austin’s How to do things with words (1962) which art professor Estelle Barret (2013:68) explains as a “performance utterance does not describe or report actions or events but performs the actions to which they refer” Questions of how I was losing so much weight, I did not look like a fat person or that my loose skin was disgusting and that I was seeking desire or conforming to idealised thin body types. My body became a site for others to discuss their diet/weight issues.
I have repeatedly related my bariatric body experience and visual work to philosopher Julie Kristeva's theories in her 1982 essay "Powers of Horror: An essay on abjection" and extensively written about how my artworks and body relate to readings of the abject, for example, my 2020 essay Cindy Sherman and Abject and how this relates to my practice.
Kristeva's theories allowed the exploration of the bariatric bodies’ material limits disrupting the boundaries and binary language of what is considered an "unclean improper body". This can translate to how society considers the body healthy-unhealthy, fat-thin, pure and dirty. My textual analysis of my experience of obesity, bariatric, and the abject body was entwined with Mary Douglas's 1966 "Purity and Danger" text. Douglas describes objects and matter as dirty and disgusting when we cannot categorise them; thus, I aligned this with my drastically transformed body post-surgery; it could not be classified as healthy or unhealthy, fat or thin; the body’s matter is in a constant state of being cast off.
Kristeva and Douglas’s texts accounted for the audience's responses to my body within a repulsion and desire binary. As my body conformed to what is considered an idealised body type, I became acutely aware of the discrimination I had experienced with my morbidly obese body and bariatric body, akin to Douglas (ibid), as being fat becomes matter out of place (Dollery, 2021) medically being placed under the “Obesity Gaze” (Sandiou,2019).
The complexity of how language is misunderstood around the bariatric body is why I use the term manufactured body as a mode of inclusivity and because my subject position is unique as my body has occupied every dress size (26-8) and body weight (123-59 kg) regardless of any language used to describe the mass of my body.
In addition, I agree with Newman’s (2018:10:16) book on Female Body Image in Contemporary Art that only a person with that body type should comment on it, which is a complex statement to consider when considering the visual image of the body as performative in the visual arts. I consider this because of the images of ‘heroin chic’ super-thin models in the 1990s that impacted my eating disorders. The stance of ownership of body type is a space to take responsibility for our different bodies, our health, and our narratives, including the bariatric body.
My experience of being classified medically as morbidly obese was unwell in line with NHS (2022) guidelines of multiple comorbidities, restricted mobility, exhaustion, and pre-diabetic complications alongside eating disorders and mental health considerations. The World Health Organisation (2022) describes obesity as an epidemic no longer isolated to "high-income countries” and a form of “malnutrition." Again indicative of different cultural shifts and worldwide obesogenic conditions.
Understanding all of this, how do we take responsibility for our bodies in contemporary art?
Can the bariatric body be used to refocus contemporary art ethically and responsibly and ask if there is another way to handle the agency of obesity and bariatric bodies? "How do I take responsibility for the bariatric body in contemporary art practice?".
Notes on Artwork, further fragmented questions.
Full-bodied can refer to subverting the understanding of a large body.
Why is full-bodied described as meaningful?
Why is full-bodied described as meaningful? Who, what, or how do we describe our body language, image, and size?
Lusty Strong Rich Plush
Why do some bodies give the general impression of substantial weight and rich texture? How does full-bodied become relatable when a real body and its flesh have been manipulated with paint? This question questions image manipulation in media about what our bodies are becoming in the 21st Century and its effect on how we experience our body image.
Bibliography
Dollery A (2020) How does artist Cindy Sherman’s work, relate to Julie Kristeva’s theories on Abjection and how has this influenced my own practice? [online] At: https://wordpress.com/home/alisondollerystudiopractice.wordpress.com (16th March 2022). Dollery A (2021) The Manufactured Body in Performance Art Essay [online] At: https://wordpress.com/view/alisondolleryuvc2.wordpress.com (16th March 2022). Dollery A (2021) The Manufactured Body, Fine Art Learning Log [online] At: https://wordpress.com/view/fineartalisondollery.wordpress.com (16th March 2022). Barrett (2014) Practice as Research. 1st edn. Bloomsbury Publishing. Available at: https://www.perlego.com/book/919671/practice-as-research-pdf (Accessed: 28 September 2022). Douglas, M. (2003) Purity and Danger. (1st edn) Taylor and Francis. At: https://www.perlego.com/book/1620698/purity-and-danger-pdf (Accessed: 16th March 2022). Kristeva, J (1982) Powers of Horror: An Essay on Abjection, New York, Columbia University Press. Newman, E. (2018) Female Body Image in Contemporary Art. (1st edn). London: Taylor and Francis. Sandoiu, A (2019) Using an Obesity Simulation Suit to reveal prejudice among med students [online] At: https://www.medicalnewstoday.com/articles/325967 (accessed 16 March 2022). World Health Organisation (2022) Obesity [online] At: https://www.who.int/health-topics/obesity#tab=tab_1 (accessed 22 September 2022).
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BELOW IS AN ARTICLE BY JENNA FOX AND NICHOLA RODGERS - THIS WAS DONE AROUND LOCKDOWN AND WHEN THEY WERE BOTH STILL FRESH OUT OF UNI…
contact links - www.nicholarodgers.com https://jennafoxartist.weebly.com/
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TIPS FOR STUDENTS YOU DON’T LEARN AT UNI!
Nichola and Jenna both found through talking to other uni leavers, that there are many things you are not told at uni, and each uni no matter where it is, always misses relaying important information that you really need to know. As this month is student month we decided to add a few of our tips here, hopefully these will help you navigate becoming a professional arts when leaving education.
Open calls might seem a bit scary or might not be your “thing” but you will find they are a really useful tool to grow your portfolio and test if what you are doing works. There are lots of types of callouts. I will try and cover what I can from personal experience and from chatting with other artists.
WHY ENTER OPEN CALLS & COMPETITIONS?
Build Your Portfolio - Every accepted submission adds to your professional record. For writers, this could be a byline in a magazine. For artists, an exhibition listing or published image. These show commitment and growth.
Gain Exposure - Even if you don’t win, your work might still be shared online, featured in group shows, or picked up by curators, editors, or scouts. A small call-out can lead to bigger connections.
Networking - Competitions often come with events, talks, or forums. Whether online or in-person, these are chances to meet fellow creatives and expand your circle.
Earn Recognition -Being longlisted, shortlisted, or winning provides proof of quality. These accolades are gold on grant applications, residency forms, or grad school portfolios.
Get Feedback - Some contests, especially smaller or academic ones, offer personal notes or critiques. These insights are invaluable for development and perspective, and if they don’t offer feedback sometimes you can request it. But it is difficult to get feedback sometimes which can be disappointing, but don’t let that put you off, many calls do get hundreds of applicants.
Funding or Prizes -Prizes may include cash, publication, supplies, residencies, or mentorship. This can help support your practice and validate your efforts.
Deadlines Create Discipline
Knowing a deadline is coming up pushes you to finish, revise, and polish your work instead of letting it sit. This is a big one, especially when you first leave education. You lose the urgency to get things done or resolved, but entering open calls and competitions gives you the incentive to keep to a schedule.
WHAT TO LOOK FOR IN AN OPEN CALL
Eligibility - Always check for:
Age (e.g., under 25)
Location (e.g., UK residents only)
Education level (e.g., student or emerging artist)
Culturally appropriate
Theme - If the theme is “Transformation,” your piece should relate to that. Being off-topic is one of the most common reasons for disqualification.
Mediums Accepted - Look closely; some shows want only paintings, while others accept mixed media or performance. For writers, genre-specific contests are common (e.g., horror, flash fiction, creative nonfiction).
Submission Deadline - Write it down early and note the time zone! A Noon UK deadline is not the same internationally.
Entry Fee - Some have free entry; others charge a fee (£5–£45 is common). Decide what you're comfortable with and whether the potential reward justifies the cost. (I don’t enter any with a cost over £10 per piece, simply because it feels wrong for an artist to pay to be able to work and be accepted, but everyone is different). Always check out the company or institution running the call, and make sure they are who they say they are.
Rights & Usage - Do they ask for exclusive rights? Can you submit elsewhere? Be cautious of open calls that ask for full rights without fair compensation.
Judging Criteria - Are the judges professionals in your field? Are submissions anonymous (“blind”)? Knowing this helps you understand the values behind the contest.
Prizes or Outcomes - Ask: What do winners get? Some may offer nothing beyond exposure, while others provide mentorships, print features, or artist talks.
HOW TO PREPARE YOUR ENTRY
Follow Guidelines - If they say, “JPEGs under 5MB” or “Times New Roman, 12pt, double-spaced,” do exactly that. Failing to follow instructions = instant disqualification.
Tailor Your Work - Even if you’re reusing past work, revise it to suit the tone, theme, or audience of the opportunity.
Title & Statement - Titles should intrigue without being confusing. A statement (100–300 words) should explain the why behind your work, not just the what.
Proofread - Read it aloud. Use tools like Grammarly. Ask a friend to check it. Silly mistakes can ruin an otherwise powerful piece.
Portfolio Website or Socials - Include your professional portfolio only if requested. Make sure it’s updated, clean, and free of casual or off-brand content.
SMART STRATEGIES
Track Submissions
Use a spreadsheet or apps to track:
Title of the work
Where/when you submitted
Costs of the submission
Outcome (accepted, rejected)
Notes or feedback
Start Local - Local art councils, Uni galleries, or community zines are great low-pressure starting points, and they often have less competition.
Batch Submissions - Have a few solid works that can be adapted for multiple submissions. Make sure to check exclusivity rules, some require that the work hasn’t been shown elsewhere.
Revise Rejected Work - Don’t give up after one “no.” Edit it, refine your statement, or try another venue. Success often comes from persistence.
WHERE TO FIND OPPORTUNITIES - Art Platforms. Some of these are free, and some you need to join, so make sure you can make full use of them. This is just a small selection.
Writing Platforms
Social Media
Follow hashtags like: #OpenCall #CallForSubmissions #WritingCommunity #EmergingArtist
Check Instagram pages for zines, indie presses, and galleries.
University & Community Boards
Don’t overlook the resources posted in hallways, student portals, and arts departments.
Local Councils many have a cultural department, where they post any art events that are up and coming.
OPTIONAL MATERIALS TO PREPARE AHEAD
Short bio (50–100 words);
Long bio (200–300 words)
Artist/writer statement - check out our statement writing piece above 👆
Creative CV/resume (includes exhibitions, publications, education)
Photo, headshot, or portrait
High-res images or formatted documents
List of works submitted
Linktree, Instagram, or personal website
MINDSET TIPS
Don’t Take Rejection Personally - One judge might pass, but another might love it. Artistic value is subjective. Keep creating.
Celebrate Small Wins - Getting published in a zine or chosen for a student show is worth celebrating. Every step matters.
Keep Creating - Don’t pause your creative work just to wait for results. Keep the momentum going.
Support Others - Support other creatives, congratulate them, share their wins, or join critique groups. You’ll learn and grow through community, not competition.
Creating your own - Think about creating your exhibitions and open calls with your fellow students.