BASEROOM 2B - FINE ART AND RESEARCH
Gabija Grusaite@gabijagrusaite
https://gabijagrusaite.com/After working for 15 years with fiction and publishing three novels, I am interested in bringing literary narrative structures into the nonverbal language of visual art. I seek to develop sculptures as storyboards using found objects and various historical materials, envisioning them as characters that interact with each other and tell stories with a multiplicity of possible readings. The provenance of objects, historical context, and poetic associations are critical in assembling these narratives.
Born in Vilnius, Lithuania, educated in London (Goldsmiths College, RCA), I lived in Malaysia throughout my 20s, now based between London and Italy. The migration experience has taught me that identity is an ever-evolving story that connects personal with broader discourses of power. My family history, which stretches from Lithuania to Poland, Ukraine and beyond, has become a departure point that I interweave with various political, social, and historical contexts and articulate via speculative thinking and making.

TITLE: Silence of the Pine
Medium: Bronze, copper pipes, vegtan leather, enamel paint

Dimensions: 92x50x62

3 words related to your practice:

Flight, Traverse, Tresspass
Meishan Zhao@zhao.meishan
meishanzhaoart@outlook.comMeishan Zhao is a London-based Chinese artist whose multidisciplinary practice encompasses painting, ceramic sculpture, and printmaking. Drawing from both Eastern and Western narratives, her work explores the cultural constructs surrounding femininity, weaving together natural landscapes and female forms to create evocative visual dialogues. Through her art, Zhao invites viewers to reflect on gender, society, and the complex terrain of cultural exchange.
TITLE: Unfolding soil
Medium: Oil on Canvas

Dimensions: 85cm x 115cm


3 words related to your practice:

Nature, Identity, Painting
Kyungmin Nam0.white_plane
km.nam021120@gmail.comKyungmin’s work is a process of transformation. She uses found objects as her canvas, breathing new life into discarded materials and inviting a dialogue around memory, mortality, and renewal. These overlooked elements become vessels for exploring what remains, what fades, and what can be reimagined.  

For Kyungmin, painting is not limited to surface—it is a meditation on presence and impermanence. Grounded in the belief that death is a transition rather than an end, her work layers material and gesture to reflect the fluid nature of existence.  

Blurring the line between painting and object, she challenges ideas of permanence and value. By merging traditional methods with experimental processes, she allows texture and materiality to carry meaning.  

Through this balance of presence and absence, Kyungmin invites viewers to reconsider what is often ignored, offering a quiet but powerful reflection on time, memory, and transformation.

TITLE: The Night When Everything Flipped
2025
Materials: Oil paint on canvas

Dimensions: 137 x 90 cm

3 words related to your practice:

Transformation, Impermanence, Reclamation


Hanna Kojima Boyd@hannakboyd
https://www.hannakojimaboyd.com/I came across a window into paradise, an old window, hazy and coated in dust, through which the world beyond appears far off and unreal.
 Of paradise, I refer to the place of true belonging, a place where the most beautiful moments and cherished memories coexist forever.                                                
The view from the window is enchanting but tinged with melancholy and yearning. I press my nose against the glass like a child, trying to get closer, but my breath fogs up the cool surface, making it even harder to see. I become aware of the exquisite anguish of standing on the threshold of paradise but never being able to enter it. Even in the middle of an unforgettable moment, I am already anticipating the loneliness when it is over. The words get caught in my throat as they come rising up: “Won’t you stay, just a little longer?”                                                
I held her in my arms as we stood on the threshold of paradise - Ural Thomas and the Pain in “Smoldering Fire” 

TITLE: Monsoon Green
Dimensions: 80 x 60cm

Madium: Oil on canvas

3 words related to your practice:

Longing, Threshold, Obscurity


Mary Pedder
marypedder@hotmail.com
Moving from Harlesden to Hampshire just before the pandemic heightened my awareness of nature’s role in my life. This transition, alongside leaving teaching and navigating my children’s autism diagnoses, led me to reflect on the concept of ‘home’ as a web of correspondences between place, belonging and identity. I use an autoethnographic framework to explore themes of neurodivergence and contemporary exclusion within a broader social context. As a practice-led researcher, my process is iterative, often beginning with drawing and evolving through various media before culminating in painting—or unfolding in reverse.Painting is at the heart of my practice, providing a space to distill and synthesise insights from my research. I experiment with application, surface, colour, and media to convey the essence of an idea or emotion. It is through the materiality of paint—the freedom and challenge it offers—that I am constantly pushed to refine my work in pursuit of a more authentic representation of self.

TITLE: Rock Pool Womb
Dimensions: 110 x 80 cm.
Medium: oil on canvas

3 words related to your practice:

place, nature, belonging

@rcagraddipRCA Graduate Diploma September 2024