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Above: GDGS2020 1. Systems by the public vote winner for Digital Arts, Monique Baltzer. / 2. This Hurts by the public vote winner for photography, Audrey Gillespie / 3. F A B U L A E by the public vote winner for Jewellery, Sofia Azevedo. / 4. More Than Real by the public vote winner for Fine Art, Emily Gillbanks. / 5. The Object by the public vote winner for Contemporary Craft, Sarah Murdoch. / 6. Topographic Anatomy by the public vote winner for Sculpture, Paula Pardo.  a VR experience which comments on how we interact with digital mediums,Systems illustrates both the beauty and horror of technology.“Systems” is a theatrical VR experience commenting on our relationship to technology. This project equates tech with the sublime, by illustrating its beauty and horror through the characters of the technophile and technophobe. Viewers can step into this virtual “mechanical” theatre and watch as a “device” affects the characters’ sense of self and connection to others. The stage wraps around the viewer, rotating with each scene change. Hundreds of panels stand around the stage, ready to arrange themselves based on the characters' interaction with their devices. The viewer's controller appears as their own device to start the experience. Photography This Hurts by Audrey Gillespie Fine Art BA Hons, Ulster University - Belfast School of Art.  A series of 35mm photographs, paintings, prints and collagesThis Hurts documents queer identities, mental illness, mourning and relationships.This series comprised of 35mm photographs, painting and printmaking uses heavy emotions channeled through colour saturated images to create bleared lines between anxiety fuelled visions and static day dreams. With experimental double exposures, hallucinogenic atmospheres and soft focus, deep tones fuse the subject and backdrop in Gillespie's images before whipping it back to sun glazed scenes settling into a fugue state. Exploring queerness, mental illness, mourning, relationships and identity, Gillespie aims to snatch fleeting moments before they’re gone, clinging to the release of memory hoarding. Jewellery F A B U L A E by Sofia Azevedo Fashion Jewellery BA Hons, London College of Fashion UAL.  F A B U L A E displays unique pieces inspired by endangered languages, wildlife and cultures each corresponding to a different continent.More than bare jewellery, Fabulae invites one to rethink, or reconsider, the concepts of durability and longevity, by portraying a narrative that unveils–be it literally, or figuratively–the beauty behind ephemerality (or, in this particular case, bioephemerality), and how indissociable it is from our own existence. All designs in this collection draw inspiration from and fuse the lost or endangered tongues, peoples and species inhabiting specific parts of the globe into one: one herald for each continent; portraying a single concept that is to be revealed over time, through the withering of its respective natural element. Fine Art More Than Real by Emily Gillbanks BA Fine Art, University of Suffolk.  Painted from self-portraits taken on her iPhone, More Than Real analyses the immediacy of social media, decontextualising the self from a screen to a gallery space.More Than Real (2020), visually aims to reflect how my smartphone has become an extension of both my mind & body. I interrogate how my iPhone, an eminently portable machine, not only re-defines what has historically constituted to what it means to have a body, but also how the world found in our pockets is dominating methods of communication in our current technologically mediated communities. Selfies as communicative systems I align with a face-work of emoji ideograms, I use disrupted kinds of realism, the difference between selfie taking and painting traditional Self-Portraits to highlight how the billions of online enigmas are becoming more than real. Contemporary Craft The Objects by Sarah Murdoch Silversmithing and Jewellery BA Hons, Glasgow School of Art.  Sarah's vessels serve as an allegory for both western beauty ideals and feminine bodies which can be interpreted in their own unique way from viewer to viewer.Objectification can be defined as seeing and/or treating a person, usually a woman, as an object. Exploration of the female form was the starting point of this research, studying the evolution of beauty standards throughout the ages. Initially, the life drawing tradition marked the beginning of this investigation, that allowed for an exploration of the shapes and movement of the body; extracting form, colour, and pattern directly from drawings and incorporating them into these designs. Each pose has its own fleeting image that has to be captured there and then, and can be interpreted in different ways by the viewer. The collection presented here, focuses on Western ideals of beauty and the extremity of the objectification of women in our culture. In today’s society women are under constant pressure to ‘correct’ their bodies to an ideal image, to the detriment of their mental health. Therefore these pieces form a collection of vessels focussing on the mental health crises in young women reflected in the myriad pressures society places upon them. This collection of smooth, organically-shaped and brightly patterned objects are representative of the character and collective nature of specific relationships. Sculpture Topographic Anatomy by Paula Pardo BA in Visual Arts, Universidad Javeriana, Bogotá.  Topographic Anatomy explores the anatomical surface of the human body, which is rendered in clay then fragmented.This Project raises an introspective reflection of the human body from a territorial and topographic perspective that explores the anatomical surface as a space recreated in a second skin made of clay and affected by natural and corporeal factors which are decisive in the ceramic process, such as time, weight, strength, air, water, earth, fire and the body itself. This Body that emerges from the fragmentation attempts to recreate its open nakedness as a metaphor of the infinite wide set of relationships that conform it. A reclaiming of the slashed body because it holds the meaning of life and in it remains the imprint of instinct. With voting for the i-D x ARTSTHREAD Global Design Graduate Show GDGS2020 now closed, the judges are now deliberating to pick their winners of the competition. 
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Above: GDGS2020 1. Systems by the public vote winner for Digital Arts, Monique Baltzer. / 2. This Hurts by the public vote winner for photography, Audrey Gillespie / 3. F A B U L A E by the public vote winner for Jewellery, Sofia Azevedo. / 4. More Than Real by the public vote winner for Fine Art, Emily Gillbanks. / 5. The Object by the public vote winner for Contemporary Craft, Sarah Murdoch. / 6. Topographic Anatomy by the public vote winner for Sculpture, Paula Pardo.
Meet the winners of the Fine Art / Photography / Craft category Public Vote in the GDGS2020 i-D and ARTSTHREAD Global Design Graduate Show 2020! We're focusing on the Digital Arts, Photography, Jewellery, Fine Art, Contemporary Craft and Sculpture projects that received the most public votes. Check out the projects also on i-D online.
Digital Arts
Systems by Monique Baltzer Art BA, Yale University.
a VR experience which comments on how we interact with digital mediums,Systems illustrates both the beauty and horror of technology.“Systems” is a theatrical VR experience commenting on our relationship to technology. This project equates tech with the sublime, by illustrating its beauty and horror through the characters of the technophile and technophobe. Viewers can step into this virtual “mechanical” theatre and watch as a “device” affects the characters’ sense of self and connection to others. The stage wraps around the viewer, rotating with each scene change. Hundreds of panels stand around the stage, ready to arrange themselves based on the characters' interaction with their devices. The viewer's controller appears as their own device to start the experience.
Photography
This Hurts by Audrey Gillespie Fine Art BA Hons, Ulster University - Belfast School of Art.
A series of 35mm photographs, paintings, prints and collagesThis Hurts documents queer identities, mental illness, mourning and relationships.This series comprised of 35mm photographs, painting and printmaking uses heavy emotions channeled through colour saturated images to create bleared lines between anxiety fuelled visions and static day dreams. With experimental double exposures, hallucinogenic atmospheres and soft focus, deep tones fuse the subject and backdrop in Gillespie's images before whipping it back to sun glazed scenes settling into a fugue state. Exploring queerness, mental illness, mourning, relationships and identity, Gillespie aims to snatch fleeting moments before they’re gone, clinging to the release of memory hoarding.
Jewellery
F A B U L A E by Sofia Azevedo Fashion Jewellery BA Hons, London College of Fashion UAL.
F A B U L A E displays unique pieces inspired by endangered languages, wildlife and cultures each corresponding to a different continent.More than bare jewellery, Fabulae invites one to rethink, or reconsider, the concepts of durability and longevity, by portraying a narrative that unveils–be it literally, or figuratively–the beauty behind ephemerality (or, in this particular case, bioephemerality), and how indissociable it is from our own existence.
All designs in this collection draw inspiration from and fuse the lost or endangered tongues, peoples and species inhabiting specific parts of the globe into one: one herald for each continent; portraying a single concept that is to be revealed over time, through the withering of its respective natural element.
Fine Art
More Than Real by Emily Gillbanks BA Fine Art, University of Suffolk.
Painted from self-portraits taken on her iPhone, More Than Real analyses the immediacy of social media, decontextualising the self from a screen to a gallery space.More Than Real (2020), visually aims to reflect how my smartphone has become an extension of both my mind & body. I interrogate how my iPhone, an eminently portable machine, not only re-defines what has historically constituted to what it means to have a body, but also how the world found in our pockets is dominating methods of communication in our current technologically mediated communities.
Selfies as communicative systems I align with a face-work of emoji ideograms, I use disrupted kinds of realism, the difference between selfie taking and painting traditional Self-Portraits to highlight how the billions of online enigmas are becoming more than real.
Contemporary Craft
The Objects by Sarah Murdoch Silversmithing and Jewellery BA Hons, Glasgow School of Art.
Sarah's vessels serve as an allegory for both western beauty ideals and feminine bodies which can be interpreted in their own unique way from viewer to viewer.Objectification can be defined as seeing and/or treating a person, usually a woman, as an object. Exploration of the female form was the starting point of this research, studying the evolution of beauty standards throughout the ages. Initially, the life drawing tradition marked the beginning of this investigation, that allowed for an exploration of the shapes and movement of the body; extracting form, colour, and pattern directly from drawings and incorporating them into these designs. Each pose has its own fleeting image that has to be captured there and then, and can be interpreted in different ways by the viewer.
The collection presented here, focuses on Western ideals of beauty and the extremity of the objectification of women in our culture. In today’s society women are under constant pressure to ‘correct’ their bodies to an ideal image, to the detriment of their mental health. Therefore these pieces form a collection of vessels focussing on the mental health crises in young women reflected in the myriad pressures society places upon them. This collection of smooth, organically-shaped and brightly patterned objects are representative of the character and collective nature of specific relationships.
Sculpture
Topographic Anatomy by Paula Pardo BA in Visual Arts, Universidad Javeriana, Bogotá.
Topographic Anatomy explores the anatomical surface of the human body, which is rendered in clay then fragmented.This Project raises an introspective reflection of the human body from a territorial and topographic perspective that explores the anatomical surface as a space recreated in a second skin made of clay and affected by natural and corporeal factors which are decisive in the ceramic process, such as time, weight, strength, air, water, earth, fire and the body itself.
This Body that emerges from the fragmentation attempts to recreate its open nakedness as a metaphor of the infinite wide set of relationships that conform it. A reclaiming of the slashed body because it holds the meaning of life and in it remains the imprint of instinct.
With voting for the i-D x ARTSTHREAD Global Design Graduate Show GDGS2020 now closed, the judges are now deliberating to pick their winners of the competition.