N O E N T R Y ,
w h y ? E X I T ,
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A N Y W E A R
Bath Spa University MA Fine Art Show 2026
The Bath Spa University MA Fine Art Show (BSUMAFA) saw Nicholls' work alongside other emerging contemporary artists, showcasing Painting, Ceramics, Design, Textiles, Mixed-Media, Audio/Visual, Installation, and Sculpture works. The work showcased was a critical demonstration of contemporary social enquiry, whilst also reflecting the development of these artists' practices. The show ran on half of the University's campus, with work being exhibited in The Street, Michael Pennie Gallery, and the North Facing Mezzanine.
Nicholls' work, situated in The Street, saw a significant amount of foot traffic, making the work, arguably, the most visible to visitors; because of this, the reception of the work (positive, negative, neutral, etc) must be taken with an open mind; for him, this will be the first time he will see his work in such a populated space as an artist.
About the Work
Functioning as a 'quadriptych': NO ENTRY, why? EXIT, where? ANYWHERE (NEWEWA) presents a scene in which belonging is negotiated through architectural thresholds - confronting the idea, 'who can belong where?' whilst debating restriction and isolation without providing an alternative space (for people) to go.
The act of masking is confronted within the work too - the laundrette is purposed as a space of anticipation of a heteronormative society, where behaviour is rehearsed as is typically expected. The elements of queer space are displayed through motifs, like saturated 'neon' lights which are found heavily in queer 'night-spaces'; and the nakedness of the figures within the scene suggests a reputed promiscuity within queer culture regarding 'hook-up' activity.
The relationships between the figures are transient, aimed at provoking curiosity in the audience and questioning the dynamics and the relationships between the figures. Further spaces are suggested within the paintings, framed by windows, restricting the view beyond what is being shown; they may contain an outside world or intimate acts.
The canvases themselves are distanced from each other to act as a reminder of this fragmented reality, whilst forcing a stark transition between one painting to another - despite the work depicting one cohesive scene. The composition is slightly distorted and warped, leaning towards a more dream-like or imaginative state.
