If I receive the £10,000 Dover Prize bursary, I will create a bold, multi-layered body of work that explores our relationship with time, technology, and human identity—through the lens of both fine art and philosophical inquiry. My work blends traditional techniques like detailed drawing and portraiture with digital themes, abstract concepts, and speculative theories, such as my Dimensional Simulation Hypothesis. This funding would give me the freedom to push this fusion further than I’ve ever been able to.
The bursary would be used to cover:
Studio costs (rent, materials, framing)
Research visits to Darlington for local engagement
Workshops and participatory events with the community
Technical development of experimental work, including projections or interactive digital layers
Collaboration with experts in science and philosophy to challenge and deepen the ideas
What I’m hoping to achieve is more than just a set of artworks. I want to create a philosophical experience—where residents of Darlington don’t just view the work but feel reflected in it, challenged by it, and inspired to question their own narratives. The project will result in an immersive exhibition where traditional drawing meets speculative realism and modern tech, inviting audiences to step into a thought-provoking world.
This prize wouldn’t just develop my artistic practice—it would completely change its trajectory. I’ve been building toward something that can live both in the art world and in real communities. This is the moment to bring that vision to life. With the support, I’d move from isolated personal creation to a broader public-facing project—rooted in dialogue, experimentation, and connection.
Darlington has a deep cultural and industrial history—a place of invention, resilience, and reinvention. My work, which reflects on systems, cities, and identity, naturally aligns with this energy. By embedding my creative process in Darlington, I aim to produce something that doesn’t just sit in a gallery but lives in the conversations, memories, and curiosity of the community.
Through public workshops, I’ll invite locals—young people, elders, newcomers—to contribute ideas and responses, some of which will be woven into the final pieces. These sessions won’t just be about making art but about opening space to reflect on what it means to exist in a world shaped by both history and unseen digital forces.
The final exhibition in Darlington would blend portraiture, architectural sketching, abstract visuals, and speculative theory into a powerful immersive experience. I’ll also host artist talks and interactive sessions to break down barriers between art and everyday life.
This isn’t just about visibility—it’s about relevance. I want the people of Darlington to feel like the work was made for them and with them, helping raise the area’s creative profile while leaving behind a sense of connection and legacy.
Please tell us about your practice. Please include any recent exhibitions if applicable. (350 words)
I do not hold a formal undergraduate or postgraduate degree in visual or applied arts. My practice has been developed independently through years of self-directed study, practical experimentation, and immersion in both classical and contemporary art. I have spent extensive time studying masterworks at institutions like the National Gallery, as well as analysing philosophical and scientific texts to feed into the conceptual aspects of my work.
Rather than taking a traditional academic route, I’ve pursued alternative forms of learning—including mentorships, artist-led programmes, bootcamps, and public exhibitions. This self-taught path has allowed me to maintain originality in my approach while also building strong technical foundations and critical depth.
In 2021–2022, my work was selected for the I Matter touring exhibition, which validated my practice among formally trained peers. I have also worked closely with art consultants and participated in community-focused art initiatives that have helped me refine both my visual style and my public engagement skills.
I have not received a formal grant to date, but I was awarded an honorarium a few years ago for participating in a group exhibition. While it wasn’t a major financial award, it served as a professional acknowledgment of my contribution to the exhibition and the quality of my artistic work.
That experience, though early in my journey, gave me a sense of legitimacy as a practicing artist. It reinforced my belief that my ideas and visual language resonate with others, even without formal institutional support. Since then, I’ve continued to develop my practice independently, refining my concepts and techniques, and building toward opportunities like The Dover Prize.
This bursary would be the first significant financial support I’ve received and would mark a turning point in allowing me to realise a more ambitious, community-connected body of work.
Yes, I have independently created and led several self-initiated projects that reflect both my artistic vision and entrepreneurial mindset. Most notably, I launched a concept-driven app project called Nominate, which blends art, design, and social experimentation. It invites users to engage in a chain of thought-provoking questions, encouraging communication, reflection, and idea-sharing in real time. The project stems from my desire to make interaction more meaningful and less awkward, especially for those who, like myself, face social barriers.
Alongside this, I’ve organised and curated my own solo exhibitions, including a public show at King’s Park Campus, which involved handling everything from curation and framing to promotion and public engagement. These experiences taught me how to structure professional projects from the ground up, manage timelines, and create space for public interaction with my work.
While I don’t run a formal studio, I approach my practice with a self-directed structure, combining art-making with project development, public engagement, and concept building. My work is deeply driven by big ideas, but I ground those ideas in real-world formats that bring people together. I see this approach as central to how I contribute to the creative sector.
Yes, my work has been featured in several publications, both online and in print. In 2020, I was selected for the debut issue of King House Art Magazine, a curated collection highlighting how artists around the world responded to the global events of that year. My work was included alongside international artists from countries such as the US, Japan, and China, and was part of a broader narrative reflecting the emotional and cultural impact of the pandemic. The issue can be viewed online here.
Additionally, my London-based architectural painting was featured in a publication called Factory, which showcased emerging visual artists inspired by urban environments. Being from London, the inclusion of this piece was significant, as it represents my ongoing exploration of cityscapes and the emotional connection between place and identity.
These features have helped extend the reach of my work and allowed me to connect with broader audiences. They also offered recognition for the conceptual and visual strength of my practice, especially as a self-taught artist.
Email: rayhanart94@yahoo.co.uk
Address: 12 Greenhithe, Close, Sidcup, Kent, DA15 8EF, GB
Local Authority: Royal Borough of Greenwich.
