LCC graduate Maya Gadd produces children’s masterclass films for BBC Learning

Music Video

Making a music video inspired by Wagner’s Ride of the Valkyries

Maya Gadd, a 2014 graduate from LCC’s BA (Hons) Design for Interaction and Moving Image, has recently helped to create a series of masterclass films as part of a classical music-based initiative from BBC Learning.

Ten Pieces is aimed at schools and encourages children to explore the world of classical music by producing their own creative responses to a selection of orchestral pieces. The project was nominated for a BAFTA Children’s Award in the Learning – Primary in 2015 category.

In her role as BBC researcher, Maya was part of a two-person team who shot eight masterclass films offering tips, ideas and inspiration for children responding to the Ten Pieces.

We caught up with Maya to find out more.

What does your researcher role at the BBC involve?

As a researcher, I work firstly to develop a project by brainstorming ideas and figuring out how the content will be of best use to the audience. I then research locations, talent, music, experts – making sure that I have lots of options that work within the project in different ways.

Together, the editorial team will make decisions about who and what we think would work best creatively and practically. We then shoot and edit what we have been working on, which is a whole other set of skills…

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Behind the scenes on the team’s Wagnerian music video

What were the biggest challenges in making the masterclass films?

The biggest challenge was the age range (12-year-olds). I needed to make sure that the ideas and artists in each masterclass were relevant to this age group. The whole point of the project was to get kids creatively responding to classical music – however they want to, not necessarily by playing music. Coding, dance and animation were all routes we went down.

Another challenge was the responsibility. The Ten Pieces project had already reached over half the primary schools nationwide and had been very successful in helping children achieve more than they would have by opening up their minds to new possibilities. I felt a lot of pressure to make sure that the masterclasses I was working on would give secondary school children that same experience.

Which of them is your favourite and why?

Making a music video was my favourite. It was a real team effort, and I loved that. It was also full of glitter. I also loved the mambo animation – I spent hours cutting out all the shapes for it and made a complete mess of the office. It was brill.

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Maya helps to make an animation inspired by Bernstein’s Mambo

You made the coding film at LCC – how did it feel coming back?

I loved coming back to LCC, but it felt very different working there with a lot of responsibility. I am very used to LCC being my playground – this was not the time for me to play!


MistaJam and Sam Aaron compose a piece at LCC using code, inspired by Bizet’s Carmen

What would you most like people to take away from these films?

The aim was to show kids ways in which to be creative by listening to music even if they can’t read music or play an instrument; that music can still open up whole new ways of working and thinking. That’s what I hope to happen when they watch the masterclasses.

Read more about BA (Hons) Interaction Design Arts

View the Ten Pieces masterclass films 

Pentagram design new directional signage for LCC

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© Max Creasy

Earlier this year, international design consultancy Pentagram were commissioned to design a new system of College internal signage, with LCC alumnus Domenic Lippa leading on the project.

Over the summer period, the old black vinyl and A4 laminated door signs were removed and replaced with the new signage panels, intended to focus on better navigation within the building.

The system consists of door numbering, floor directories and larger scale directional signage, with the facility to produce in-house signage in the same style if the need arises.

We spoke to Associate Partner Jeremy Kunze about how Pentagram approached the project.

What were the priorities in providing new internal signage for the College?

The main priorities were to find a solution that could work within the LCC’s four different buildings and be adaptable enough to allow the College to change room names and redecorate when necessary. It also had to be incredibly cost-effective because of the College’s upcoming move.

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How did you approach the process with these priorities in mind?

From the beginning we needed to establish a first-hand understanding of the unique functions of each building and where information was most needed. We spent a lot of time walking between the different rooms in each building and looking at how the room types were used. It was also important to hear from staff and students who regularly used the building about what the issues were.

What were the biggest challenges along the way?

One of the biggest challenges was the adhoc way the current site had been developed. Each of the four blocks had a set of unique problems. In the Tower Block, for example, you have over 150 doors which are all slightly different – and then they are all different to the other doors in the other blocks. It was about finding a level of consistency which worked across everything.

And how do you feel about the end result now the signage is installed?

The resulting wayfinding solution is extremely adaptable. The material palette is inspired by LCC’s key principles – a dedication to ‘making’ and physical design. As with the UAL identity, the wayfinding should not get in the way of the students’ work, but it needed a sensitivity to the environment without over-dominating. It just needed to aide people to get around, which we think we have achieved.

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Visit the Pentagram website

BA (Hons) Spatial Design students take part in Digital (Dis)connections at the Royal Academy


Calvin, Chin Chin and Aitor at the Royal Academy, 2015.

Second year students from BA (Hons) Spatial Design, Calvin Lok, Chin Chin Lam and Aitor Fernandez Hidalgo, took part in the Digital (Dis)connections event at the Royal Academy on Saturday 24 October.

This event, linked to the RA’s current Ai Wei Wei exhibition, was an evening of talks, performances and installations that aimed to challenge our contemporary use of the internet, and imagined future applications of digital technologies.

Calvin explains: “‘I(WE) AM(ARE) ANONYMOUS’, is an interactive video installation that seeks to reveal the duality and complexity of being anonymous. The installation invited users to anonymously create content which was visually broadcast in the exhibition space. The installation is made up of two parts, creation and propagation.

“The creation component is an ‘anonymous zone’ where users can create content under the guise of anonymity. Within the anonymous zone, the participant can see outside, but the onlookers will not be able to know who the participant is. This represents the power of anonymity.

“In the anonymous zone, the user was filmed, but their face was not shown. This emphasizes the idea of hiding in plain sight through anonymity and the freedom it affords.

“The propagation component broadcasts the activities from the anonymous zone on the wall opposite the creation component. However, instead of the face of the anonymous participant appearing, the faces of onlookers were reflected, representing the idea that an individual becomes the collective through anonymity – both trivializing and empowering their existence.

“Additionally, as the content will not be filtered, it will reflect the presence or absence of social responsibility and morality once ‘I (we) am (are) anonymous’.

“Process-wise, we started by establishing an idea based on the exhibition brief. After bouncing it back and forth between the three of us, we finally decided on one which we really liked and then proceeded to build on it. We came up with the initial idea of representing an anonymous state more tangibly, but it was important to us that it was still visually impressive.

“When it came to construction, we worked long hours every Monday and Wednesday over the whole of October. Despite having planned the project four months prior to the event, our space was only confirmed a month before, so this prevented us from moving forward. But with Aitor’s experience in the 3D workshop, construction moved quickly and the resultant booth was constructed in slightly over a week.


‘I(WE) AM(ARE) ANONYMOUS’’, Royal Academy, 2015.

“I then refined the software and made it fit our installation while Chin Chin worked on the visual communication of the booth. The last hurdle we had was storage and transport. As it was a large structure we had to store it in school and then transport it to the RA. Making the structure flat-pack was a really smart decision on our part as transport was so much more manageable this way.

“Lastly, we had to set up for the actual event at the RA. This was more of a challenge than an actual problem as the RA staff were very helpful. We set up the installation in about 3 hours and then proceeded to test it for another 1 hour. Once we were satisfied with the outcome, we packed up, took a break and waited for the event to start.”

Find out more about BA (Hons) Spatial Design.

MA Photography 2015 Prizegiving

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LCC MA Photography 2015 prizegiving ceremony. © Ana Escobar

As part of LCC Postgraduate Show Two, MA Photography held their 2015 prizegiving ceremony prior to the Private View on Tuesday 17 November. The evening celebrated the hard work and achievements of the course’s graduating students, and the diversity of the work on show this year.

This is the 17th final show for MA Photography at LCC, and the course team was very happy to again host the Sproxton Award for Photography as well as prizes by Photoworks, MACK, Photofusion, Troika Editions, Metro Imaging and Silverprint, all honouring different aspects of photographic practice.

The Sproxton Award for Photography

LCC MA Photography PV 2015

Alex Grace receives her prize from David Sproxton. © Ana Escobar

This prize is judged each year by a panel consisting of an industry professional and MA Photography graduate; this year Shoair Mavlian of Tate Modern and 2013 alumna Sayako Sugawara. The winner receives £1000 to help kickstart their photography career. The prize was set up by David Sproxton from Aardman Animations in memory of his brother Andrew Sproxton, who together with Val Williams of PARC founded the Impressions Gallery in York in 1972.
Winner: Alex Grace
Runner up: Lalu Delbracio Musso

The Photofusion Prize


Photofusion winner and Sproxton runner-up Lalu Delbracio Musso performs an ‘action’ as part of her final project. © Ana Escobar

Photofusion, a Brixton-based independent photography resource centre and gallery, offers studio and darkroom hire, digital printing, film processing, training and professional support. The prize awarded by Photofusion is a £200 voucher which can be redeemed against any of these services, including mentoring and portfolio advice, scanning, film processing, courses and rental of facilities, and is judged by Kim Shaw and Paul Ellis (Photofusion) and Christiane Monarchi (Photomonitor).
Winner: Lalu Delbracio Musso

Troika Photography Award


Troika Photography winner Emilia Moisio with her final project. © Ana Escobar

Troika Editions supports the MA course with the Troika Photography Award, a 12-month mentoring programme. The judges are the gallery’s co-founders Bridget Coaker and Michael Walter. The winner is supported for 12 months through discussion, curatorial advice and critical reviews of their post-university projects, to the value of £1500.
Winner: Emilia Moisio

The Photoworks Prize


Photoworks winner Alexandra Uhart with her final project. © Ana Escobar

The winner of this prize, judged by Mariama Attah, is featured in a Showcase interview on the Photoworks website, and receives free Photoworks Membership for a year. Photoworks curates, commissions and publishes photographic work and new writing about photography and produces projects, exhibitions, books, the Brighton Photo Biennial and Photoworks Annual.
Winner: Alexandra Uhart
Runners up: Giulia Astesani and Emilia Moisio (to be featured on Showcase)

The MACK Award

LCC MA Photography PV 2015

MACK Award winner Giulia Astesani receives her prize from Michael Mack. © Ana Escobar

Publisher MACK offers the winner a prize of a £200 voucher for the purchase of MACK books, judged by director Michael Mack, and the opportunity to take part in a three-month internship at its London office.
Winner: Giulia Astesani
Commendations: Ines Da Rocha Alves, Daniel Barter, Martina Ferrera, Roberta Mongardi, Silvia Gentili, Megan Helyer (to receive two books each)

The Silverprint Prize


Silverprint winner Giulia Astesani and her work. © Ana Escobar

Silverprint offer a prize of £150 in vouchers to spend on photographic supplies to assist graduates in continuing their work. Silverprint is a photographic supplier stocking traditional, digital and alternative photographic materials, and the prize is judged by Alice Rosenbaum and Samuel Taylor.
Winner: Giulia Astesani

The Metro Imaging Mentorship


Metro Imaging winner Richard Nicholson with his final project. © Ana Escobar

Metro Imaging supply a 12-month intensive one-to-one mentorship experience, judged this year by Steve Macleod, Director of Metro Imaging, and 2009 alumna Marcia Michael. The mentorship is tailor-made to the winner’s needs, but might concentrate on practical and technical input; conceptual and contextual discussion around the graduate’s practice; networking and connections to industry; or industry reviews and meetings. Also included is £1000 credit with Metro to be spend on both the mentee’s practice and connecting him or her with a community of fellow mentees.
Winners: Richard Nicholson & Roshana Rubin-Mayhew


Metro Imaging winner Roshana Rubin-Mayhew with her final project. © Ana Escobar

Read more about LCC Postgraduate Show Two

Read more about MA Photography

View more Private View images on Flickr

LCC Postgraduate Shows 2015 // Spotlight on Show Two: School of Media


‘Public Domain’, Dionysis Livanis, 2015.

Here we take a look at the second of our Postgraduate Shows 2015, featuring work by students from MA Documentary Film, MA Photography and Postgraduate Diploma Photography Portfolio Development.

The show opens with a Private View on Tuesday 17 November from 6-9pm, and runs from Wednesday 18 – Tuesday 24 November.

MA Documentary Film students use their unique storytelling abilities to explore a range of fascinating issues, while MA Photography is a concept-driven course dedicated to expanding the boundaries of the photographic medium. Postgraduate Diploma Photography Portfolio Development nurtures talented photographers working at the cutting edge of contemporary practice.

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Still from ‘Build the Lenox’, Moritz Maiworm, 2015.

Lecture Theatre B and the Typo Café will house MA Documentary Film students’ work. Films this year include ‘SWARM’ by Joel Vargas, exploring the current immigration debate, ‘Build the Lenox’, which investigates the changing face of London as Deptford houseboat dwellers come under threat from property development, and Anetta Jones’s ‘The Lady Behind the Whip’, which gets to know the day-to-day reality of life for professional dominatrix Madame Caramel.

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Still from ‘The Lady Behind the Whip’, Anetta Jones, 2015.

‘AWA: Changing Zimbabwe with Rap’ follows a young performer who is determined to reflect the real concerns of her audience in her music. Souleyman Messalti investigates the arguments surrounding preventative HIV drug Truvada, or PrEP, in ‘UK unPrEPared’, and Cosima Barzini explores the contradictory appeal of life in contemporary Rome in ‘A Beautiful Mess’.

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Still from ‘AWA: Changing Zimbabwe with Rap’, Maximilian Thurlow, 2015.

Films can be viewed throughout the show, but evening screenings will take place from 6.30-9pm on Tuesday 17 and Wednesday 18 November.

View the MA Documentary Film showreel

MA Photography students will exhibit in the College’s Upper, Well and Atrium Galleries. Students include Dionysis Livanis, whose project ‘Public Domain’ is a series of interventions in newspapers, magazines, on the street and in other public spaces that explore the relationship between the artist and his own image. By publicly displaying a passport-style photo of himself, Dionysis focuses on our pathological attachment to our image and on the vulnerability we may feel when exposed.


‘Public Domain’, Dionysis Livanis, 2015.

Luisa Whitton has spent several months in Japan working with Hiroshi Ishiguro, a Japanese scientist in the field of humanoid robotics. Luisa’s photographic series, which focuses on the robots’ eerily lifelike faces, asks: what drives technological advancement? And, as technology progresses, what does it mean to be human?


Luisa Whitton, 2015

Lalu Delbracio Musso’s ‘Sala de ensayo’ (rehearsal room) is a floor installation made from A1 sheets of coloured paper and black-and-white photographs of loved ones. During the exhibition, the installation is activated by an ‘action’, during which Lalu enters the installation, tears the sheets of paper, removes piece and reshuffles the remaining ones, in an exploration of formation and transformation.


‘Sala de ensayo’, Lalu Delbracio Musso, 2015.

Postgraduate Diploma Photography Portfolio Development students are showing their work in the Lower Gallery. Yugo Ito looks at how the light which illuminates an object we wish to preserve can itself be captured on film through the physical process of analogue photography. Naming this idea ‘physical linkage’, Yugo uses the concept as part of his ‘oblivion terror management’, as it emphasises our connection with the physical world.

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Yugo Ito, 2015

Camille Rodrigues Valbusa’s project ‘Faces of Torture’ is a collection of portraits and artworks produced in collaboration with Brazilian citizens who were tortured during dictatorship between 1964 and 1985, trying to fight against the censorship of the military. This violation of human rights remains a taboo topic in Brazil, and Camille’s work aims to fight against the lack of available historical information.

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‘Faces of Torture’, Camille Rodrigues Valbusa, 2015

Wendy Lee-Warne ‘A Woman’s Fate’ is an exploration of gender identity in a traditional Chinese family in Singapore. Drawing on her own personal experience, Wendy examines what happens to a baby once it is identified as female, and records some of the future pathways that were open to her as a child.

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‘A Woman’s Fate’, Wendy Lee-Warne, 2015

Postgraduate Shows 2015: Show Two – School of Media
Private View: Tuesday 17 November 6-9pm
RSVP to Private View:
Exhibition open: Wednesday 18 November – Tuesday 24 November
Times: Monday – Friday 10am-5pm, Saturday 11am-4pm
Late night opening: Wednesday 18 November until 9pm
Venue: London College of Communication, Elephant & Castle

As part of Show Two, MA Sound Arts will be showing work off-site at Flat Time House in Peckham from Thursday 3 to Tuesday 8 December, and will be featured on the blog soon.