The FiLiA Prize
for Emerging Female Artists
We are pleased to announce that applications are welcome until 15 May 2018
The 2018 Prize Recipient will benefit from a year-long Artist Membership @curatorspace
In 2017, FiLiA introduced a prestigious new annual award in the arts. The Emerging Female Artists Prize, for young women artists working in the UK today, forms part of FiLiA's charitable mission to promote and support women in the arts.
FiLiA recognises the competitive and often unequal nature of the art world as experienced by many women. With this Prize, FiLiA aims to disrupt the art establishment and provide an open and nurturing platform for female creators to be publicly recognised for their work.
The Emerging Female Artists Prize reflects FiLiA’s mission to support the development of new female artists working in the UK today and provide them with a unique opportunity to gain exposure to a wide audience, as well as continued support from FiLiA and its networks in the art world.
The Prize will run again in 2018 is open to all women art students or recent graduates over the age of 18 residing in the UK. To apply, please use the #FiLiArt100 application form here. Entries close on 15 May.
The 2017 Prize offered:
- Artwork exhibited at FiLiA conference and ticket to conference
- Artwork featured on filia.org.uk
- Curated room at 2018 Conference
- Mentoring session with FiLiA's Artist-in-Residence
- Vouchers from Cass Art
The 2017 finalists
Works were assessed on their aesthetics, originality, intent, technical skill, and meaningfulness.
Prize Awarded for Imprints of Life: a collection of photographs taken in Jitali-Bharuch, India, at the empty home of a family who migrated to Zambia and later to London. The photographs evoke empty presences and capture traces of life left behind.
Uzma Ravat is a British-Asian photographer, currently working with oral histories. Having graduated in B.A Social and Cultural Studies from Goldsmiths College, University of London, she is interested in stories of migration and exploring the intersection between migration and identity, particularly within a South Asian context.
Specially commended for Logging Onto Love: Would you have sex with a robot? ‘Logging on to Love’ is an exploration of the development of sex robots and virtual relationships.
Sex robots further objectify women and contribute to the inequalities in society, through their marketisation of the female body. This project is intended to raise awareness of this topical issue. We need to think about the ethics behind humanoid robots before they become more widespread and present real challenges to human interactions and society.
Specially commended for Stop Destroying our Femininity: The work focuses on three major issues affecting a multicultural society. Female Genital Mutilation, Breast Ironing and Acid Attacks happen in both developed and undeveloped parts of the world however these issues effect not only women but specifically women of colour. The project was heavily primary research based at the start as I didn’t want to start designing before I had hard evidence of physical and emotional implications. From this I developed pieces that all have the common theme of restriction. I used non-traditional materials such as foam and made my own silicone/mesh material alongside traditional materials such as leather and hardware.
You Stole Our Pride: My works deal with the uncertainty of human life; this idea is represented in leaving some parts of the canvas blank. The use of raw canvas within the portrait leaves a sense of obscurity, allowing the audience to question the situation of the sitter, which further highlights our ambiguous futures. Colour plays a large role within my work. One reads colour physically; it effects our moods as we experience it. The bright and often blocked colours further represent uncertainty within the work. The idea of only painting the young further stresses our unfamiliar futures. The characters that are not myself in my work are all men. This gives me a sense of empowerment as I question my role as a female painter. By painting close family and friends I am able to understand my fears, this is the power of my practice. It is an attempt to right the wrongs of my experiences, as I perceive them.
Expressionist Skin IV: Charlotte Hinchliffe’s work focuses on repetition and manipulation. Using her skin as a canvas, Hinchliffe explores the uses of make-up and its relationship with the body. Her work has a large performative aspect, but usually consists of edited photographs and film.
Hinchliffe is interested in layering materials and images in her work, often producing work with many repeated patterns, footage or photographs. For ‘Expressionist Skin IV’ Hinchliffe wanted to describe the relationship between the skin, make-up and the camera. Using editing techniques, she aims to comment on the effect social media can have on how we present ourselves online – editing photos in ways that sometimes completely change an image, yet also gives us freedom of expression.
Soul Searching: The concept behind this piece stems from the idea of the child's relationship to the human body, the act of throwing a doll is something children act out in order to try and 'find the soul' within the object. The head is meant to appear doll-like in its lack of hair and features. The white marks appearing around the head are directly copied from one of my own childhood dolls, they indicate the process of throwing the doll down my household stairs as a child.
The piece questions the relationship that I have with my own body, exploring my present physicality as well as the first experiences with the human body, in an object that acts as a tool for projection, self expression, nurture and discovery.