Contemporary Art Practice – Moving Image (MA)

Amy Frampton

London based Artist Amy Frampton works primarily in film, installation, and performance. Since her graduation in 2010 with a BA 1st class honours degree in fine art, Frampton has developed her creative practice, working on numerous self-lead and commissioned works. Based at Tap studios in Southend-On-Sea until embarking upon her master’s degree in 2018 at The Royal College of Art.

Show flats 2010- - Observations - Un-projects- - Southend festival- -­ - Capitalist Cathedral- Mico- commission- -My town- - Enas commission- - Where Men Are Men - Tap Gallery- Ikea- Togetherness 2019- Assembley Point/Peckham/london- Focal point gallery – To be released/


Degree Details

School of Arts & Humanities

'Currently exploring notions of reality, my practice considers the tension between our dual occupation of real-world space and virtual space. In current times we are increasingly questioning reality and what constitutes this.

As we filter humanity into cyberspace, it is deconstructed, ‘techno-blended’. Any earthly indications of actuality and the embodied experience turn to simulated happenings interpreted by code, that flows though the data fields and into modem pools.

As all things, beings and happenings are being Techno-blended, in tandem so do our ideas about our nature of being, deconstructing the way in which we think about ourselves and an embodied sense of identity. The data pools are overflowing, and the code now runs through everything we know, the way we operate, new political, social, and cultural discourses flow out of cyberspace.

Techno-blending reality, my work  approaches and challenges these themes, exploring Loci-disconnection and what it means to be human in a simulated space. exploring themes of censorship, anonymity, consent, identity authenticity, the hidden, tabooed and simultaneously omnipresent virtual practice'.


This fantasy documentary film features Nyamo, a fictional character that is part of a largely unknown cyber-subculture 'Kigurumi'. Within the documentary, Nyamo and her creator share a story of their experience of grooming within virtual space. The artist produced this work using a method of collaboration, with the intention to create an ethical documentary. Playing between the lines of fact and fiction, this piece asks the viewer to consider the tension between our occupation of virtual and real world space.

Nyamo is alone, trapped in the space between reality and virtual reality. A story of isolation and displacement, the film follows 3 characters. Nyamo encounters a potential friend ‘Lhan Rivers’ a gamer girl. But Nyamo, incompatible with both environments is helpless, as she tries to interact and save her potential friend. The third character, an adult male gamer - ‘Virusaur’. This character uses deception to groom and destroy both Nyamo and Lhan.




Fantasy And The Surreal
gender fluidity
Identity And Body
Moving image
Science Fiction

liquid identity_Techno-blended

A performance piece exploring the fluidity of identity in virtual space, following themes of censorship, anonymity, and identity authenticity. This work was produced within Coronavirus lockdown within a 24 hour time frame, with limited resources. This piece has been created in response to the shift in our time spent between reality and virtual space, as lockdown regulations where put in place, and our daily interactions became based online.

In this performance piece the artist sits wearing only a latex 'strong man mask'. The techno-blender over flows and its pathogen liquid spills out upon its user, seeping into the eye and mouth hollows of the mask.
Obscuring the artist's view, as she struggles to re-sight a spoken word piece. Playing simaltineously a moving image piece that's tracks multiple versions of 3D avatars developed by the artist.






MOMO_ titled in response to a virtual thread that swept the internet, in which a masked female privately messaged young internet users encouraging them to harm themselves and others. It then became apparent that this was fake news, there was no ‘Momo’.
This performance piece explores feminine positions, cultures and practices in virtual space. The Artist Dons a latex mask with full lips and a flawless complexion, as she attempts to take the perfect selfie from the most flattering angle. The voices of powerful female speakers begin but become quickly inaudible as they struggle to be heard. Behind the artists performance, obscured, a series of moving images, a bellydancer gyrates, a Daddy long legs and a house spider battle for their lives, and lastly, the still practiced tradition of female genital mutilation.




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