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The piece is based on and was originally displayed in the Friederich Strasse, Berlin, a one-time centre for the Stasi. At the time of the artwork's creation the centre had become an artists' squat. It was exhibited inside a cupboard in the actual corridor the artwork represents. The interior of Corridor ... can be observed through a peep-hole.

The artwork has been engraved on boxwood and then printed. It is based on a watercolour painting by the artist. Bryce was inspired by the unusual view through the Barrier to the Dome and Canary Wharf. He paid particular attention to capturing the turbulence in the water and sky.

The character of each of the artist's paintings is closely linked to her interest in traditional techniques. She follows the methods of the 17th Century Old Masters by building up layers of paint and glazes. The materials used are hand-ground dry pigments mixed with oil or egg for tempera.

The architectural model represents a competition-winning idea to design a pavilion beside the world famous Parachute Ride Tower on Coney Island’s Rieglemann Boardwalk. The design is inspired by the physical, historical and cultural context of Coney Island. Appearing to float above the boardwalk, the pavilion is percolated with large windows looking out to the ocean, the city of New York and skyward towards the crown of the adjacent Parachute Ride tower structure. The colourful structure of the pavilion is covered in electric lights like the recreational entertainment structures of Coney Island.

At first glance, the viewer may mistake the trees for a finger print or a different organic pattern. The artist is interested in looking at the smaller things in life that no one notices. Haines' work represents a moment in time that may not initially seem significant but, in fact, resonates with importance.

Most of the artist's paintings of figures underwater are self-portraits. Photography is an important element in her work. The photographs are manipulated on the computer before the painting process. Her water-covered figures are images of fantasy, sexuality and escape. Harvey is heavily influenced by the painters Francis Bacon and Jenny Saville.

The main goal of the three students behind this studio project was to incorporate design, function, construction and sustainability. The result is an effective stadium, adaptable for either 6000 or 20000 spectators, with a lifespan that will continue after the Olympic Games.

Made in China ... is a satire inspired by China's growing political power and its unstoppable economic strength. The project is sited at the pier of Victoria Harbour on Hong Kong Island. Conceptually it represents a step for a better life and a bridge between China and the pre-British governed colony Hong Kong.

Ibbotson paints about existing in the here and now. The starting point for the piece is the artist’s own response, but for Ibbotson the artwork must also connect with how other people see. Stories, myths, samples of songs, symbols and fears are all represented within the painting.

Although a light switch is a mundane, everyday object, the artist sees the beauty in its simplicity. Kimata wanted to transform the light switch into an artwork by using the traditional method of stone carving in white marble.

This piece is part of a series of prints based on small, ephemeral, natural objects. After a period of close observation, the artist takes photographs and makes drawings of the subject. These works are then transferred to a computer and the drawing is rebuilt using carefully adjusted line densities.

The artist is interested in illustration and narrative imagery. The starting point for The Tango was a short story by Hans Christian Andersen, in which the king offers half his kingdom and a princess's hand in marriage to the man who can do the most incredible thing.

The works by Graham Mileson are a result of change and discovery, the inter-relationship of colours and the building and re-building of the painting's surface. Since 1991 the artist has been particularly fascinated by mixing interference colour, pigments and acrylic gel to produce a new colour.

The piece, a cake with wooden supports, explores the impulse to acquire and how precious collections can be regarded as mere hoarding. A split-level effect was used to create a voyeuristic view into a collector's private world. A second, darker view of the collection is revealed beneath the floorboards.

The painting depicts a head against the light so that the face is in shadow. It represents a visual metaphor for the part of a person that remains mysterious and unknown.

The project was predominantly driven by the complexity of designing the exterior glass facade. The aim is to blend technology and the aesthetics of the structure. As the sun and light moves around the tower, its appearance changes and lightens.

The artist was drawn by the sunlight as it appeared to reveal the mysteries hidden within the building - what it keeps secret and what it reveals. Schley is impressed by how so-called 'lifeless' objects can appear to have personalities and be completely autonomous.

The artist reduces forms to their bare essentials, flattening the picture plane and emphasizing the verticals and horizontals. The edges of the canvas are accentuated creating a powerful sense of order and harmony. Conscious of the tradition of painting, Tait looks to the Old Masters for inspiration.

The scale of the printed image reinforces the romantic, almost surreal, portrayal of enormous, decaying, industrial structures. Vogt alludes to a heroic workforce and capitalism in full swing. The artwork represents a nostalgic glorification of the past whilst referencing the reality of social and environmental legacies.

This collaborative artwork brought together the artists' contrasting practices. Zaleszczyk's penchant for theatricality and pigs' heads fused with Yip's more understated photographic representations of the mundane aspects of contemporary life.