The judges were unanimous in their admiration for Beth McAlester’s work, praising both its emotional depth and technical sensitivity.

Her intimate painting, drawn from personal and collective memory, resonated deeply for its quiet reflection on themes of family, loss, and the lingering legacy of the Northern Irish conflict. The panel was particularly struck by the subtlety with which McAlester weaves history into her practice – finding tenderness and humanity within political and cultural tension.

Franklin Collins impressed the judges with his inventive approach to sculpture and material. His use of found and salvaged objects brings an arresting physicality to his work, transforming discarded materials into forms of unexpected beauty and poignancy.

The panel admired the boldness of Collins’ vision – unafraid of imperfection, yet executed with a clarity that suggests great promise. 

Elinor Haynes’ sculptural practice stood out for its originality, ambition, and experimental use of materials. The judges were intrigued by her ability to combine contrasting textures and forms, creating works that are both visually striking and conceptually layered.

Her sculptures reveal a strong sense of curiosity and risk-taking, pushing the boundaries of how materials can behave and interact.