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Nothing- A UCA MA Show




This week I had the opportunity to be part of a show with two fellow MA Fine Art Students at UCA; Rups Creegan and Lucy Bevin. It was an exciting show consisting of three sculptures. In all the works they displayed a high level of tension and embodied the current times.


Let me first share with you the words that accompany the show.

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Nothing- Pop-up MA Fine Art show

Monday 2nd November 2020

Rups Creegan, Lucy Bevin and Li An Lee

Nothingness is the basis of everything

Jaggi Vasudev

True philosophical nothingness is a difficult concept. One which if we even managed to conceive would then become a something even in its metaphysically form. For it to truly be nothingness it means it never existed physically nor metaphysically at any point including through time vertically and horizontally. Paradoxically it has the potentially for everything.

“I am emotionally intense, but mostly I feel nothing, empty, detached from reality and those around me…”

The feeling of nothing is a feeling we are familiar with. Despair, numb, emptiness detached, the state of not experiencing a previous feeling. This emptiness can be caused by something that was there but is no longer. Not seeing what we previously saw. Not having value for something of previous importance. Many things in our world once had importance but we have lost their importance now. Our instant expectation of our needs being met has devalued our appreciation of the basics and has become dare we say, nothing. Nothingness is understood as previous existence. A fleeting thought. An extinct creature. A moment of time. Perhaps during our current quickly developing situation where we are teetering on the brink of everything dissolving into nothing. No work, no schools, no health system, no loved ones, no end… But yet there is also the potential for everything. New systems, new schools, new health, new work, new loved ones, new community. Is nothingness sometimes the something we most need?

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Lucy Bevin's sculpture is not a painting but infact a scale model of a bedroom. The room has rug marks, only sing damp makers. It is aged and desolate. This room is a recreation of a room which holds memories for her. But in this room there is one thing that remaineds and that is a pile of dust.


As small a pile of dust seems it is infact a very significant element. It is a sign of life, that had been. This is a good example of how important a theory of object is. That is how objects can have alife of their own, a history of their own and that they have something to share with us.


Rups Creegan's work is a simple construction with many emotions attached. A see-through balloon contained by a scaffolding construction. It is intriguing and humorous especially in its relation to a game of jacks. I found the more I looked the more I envisioned myself in the bubble, being trapped, contained, controlled. Feelings resonant with many during lockdown.



I had created a work that was a hut on stilts. The hut was covered in a magazine from 1962 about conservation, tourism and hunting in Africa. The stilts are covered in a collage of colorful plants and living vegetation. On the outside there are images of people engrossed on screens. The work surrounds the viewer in mass information but it is so much almost nothing is known.
















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