Archive for the ‘Staff’ category

Protest on free education at UAL’s Kings Cross campus

A group of students have staged a protest in the reception area of our Kings Cross campus, joining a long tradition of art school demonstrations against government plans for education.

University of the Arts London shares the passion they profess for Foundation in Art and Design. That is why we announced our plan to bring our Foundation courses together under one roof from 2020.

It is true that we are reducing places in Foundation, mainly at London College of Communication, although not by 800 as the protesters claim. That’s because we don’t think it fair to make students study – and pay all the associated living costs – for longer than necessary

Foundation does what it says on the tin: it educates people in art and design. But most courses at LCC are in communications, so Foundation isn’t needed there. As it is, only a third of LCC undergraduates hold a foundation qualification.

By recruiting students straight from school-level education, we are able to reduce the number of years they need to study and the associated living costs. This will make a big difference to the very diverse community at London College of Communication, where over 43% of our undergraduate students declare a lower socio-economic status.

In the face of wider budget pressures, we are maintaining our investment in our successful Widening Participation scheme, which helps people from disadvantaged backgrounds enter the university and supports them while they study.

We will continue to work with individuals, schools and other organisations from under-represented communities to encourage them into art and design education. For those students who are interested in studying a foundation course, this will continue to be offered at other UAL sites.


Mead Scholarships & Fellowships: 2014 winner Jason File plots subversive solo exhibition

Jason File 

A year on from his successful application to the Mead Scholarships & Fellowships programme, Chelsea College graduate Jason File in currently putting the final touches on his upcoming solo exhibition – An Ornament and a Safeguard.

The Mead Scholarships & Fellowships programme is one of the most prestigious  student and graduate support initiatives at UAL, and is made possible through the generous support of Scott Mead.

Mead Fellowships provide up to £10,000 for recent UAL graduates to allow them the time and flexibility to develop their creative practice after graduation. File has used the funding he received last year to conceive an exhibition that aims to show “as transparently as possible, the ‘total potential value’ of a monetary art prize to an early-career artist”.

Expending £4,999 of his £5,000 Mead Fellowship grant on legitimate exhibition costs, File will display the ephemera generated by this process in the form of a physical ‘balance sheet’, ranging from documentation of the cost to evidence of the value produced - including a published catalogue and the potential acquisition of the installation itself.

“Perhaps only in the art world can a £1 coin be legitimately offered for sale for £10,000” Jason File, 2014 Mead Fellow.

An Ornament and a Safeguard will take place 29 April – 6 June 2015 at The Ryder Project (19a Herald Street, London E2 6JT)

Finally, applications for this year’s Mead Scholarships & Fellowships are currently open and close on 1 May 2015, 5pm.

Find out more about Mead Scholarships & Fellowships, including how to apply.  




Waste-Off and LCC’s Museum of Reinvention


The Museum of Reinvention, Waste-Off, LCC, 2015.

This week marks the conclusion of the cross-University Waste-Off Challenge, a  project to give waste new value and help promote material reuse and sharing. As part of this the Museum of Reinvention is being exhibited at LCC.

Waste-Off was launched at the end of last year by the UAL research hub Conscientious Communicators with support from Stephen Reid, Deputy Vice Chancellor of UAL, who saw the project as an opportunity to “harness the passion to drive forward change”.


The Museum of Reinvention, Waste-Off, LCC, 2015.

Teams comprised of students, academic and technical staff came together to collect material waste and via studio working and workshops facilitated by design-maker and UAL alumnus Jan Hendzel, created collaborative inventions.


The Museum of Reinvention, Waste-Off, LCC, 2015.

The result was the generation of diverse and inventive projects from across London College of Communication, Central St Martins, Camberwell and London College of Fashion.

LCC students, staff and alumni created  two cabinets of reclaimed, up-cycled and reinvented objects – to act as a permanent showcase of inspirational examples, teaching tools and unexpected ‘creative curiosities.’ The aim was to demonstrate that salvaged items can have greater value, character and potential than virgin materials.


The Museum of Reinvention, Waste-Off, LCC, 2015.


The Museum of Reinvention, Waste-Off, LCC, 2015.

Sarah Temple and Tara Hanrahan, who conceived and managed the project, explain: “We wanted people to explore the creative potential of the discarded! To show by example what is possible and through this activity help establish practical processes for staff and students to share resources and avoid contributing to landfill.”

Find out more about Conscientious Communicators here.


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Tim Meara Featured in Dries Van Noten Exhibition

Still from Small Gesture In Bare Rooms Tim Meara

Still from Small Gesture In Bare Rooms Tim Meara

Tim Meara, Senior Lecturer on the Graphic Design and Fashion Communication foundation pathways and acting Stage 2 Leader for BA Graphic Design, has had work selected for Dries Van Noten’s Inspiration exhibition in Antwerp.

Inspiration explores Dries Van Noten’s creative process through his numerous influences. Tim Meara’s 2010 film ‘Small Gesture In Bare Rooms’, commissioned by the Centre Pompidou and featuring Lucian Freud, is included in the exhibition.

Still from Small Gesture In Bare Rooms © Tim Meara

Still from Small Gesture In Bare Rooms Tim Meara

Talking about the work, Tim Meara says: “My approach was to gather reminiscences from some of the key people in Freud’s life – family and sitters – to capture the essence of the artist’s life and work through a series of filmed ‘silent portraits’.

“I was able to work closely with Lucian Freud and his collaborators for the production, from Leigh Bowery’s assistant, Lee Benjamin and BodyMap designer Stevie Stewart, who reconstructed the PVC clubbing outfit worn by Bowery for Annie Leibovitz’s iconic 1994 photograph and brought it to life again for the film; to Nicola Bateman herself, who appears, embroidering the bedspread that she made for herself and Bowery just before they were married.

“Freud painted her as she sewed in ‘Evening in the Studio 1993’. The scenes are inter-cut with footage of Freud walking the banks of the canal in London’s Little Venice, a kestrel perched on his arm. The artist used to keep kestrels in his Delamere Terrace studio in the ’40s.”

The show also features works by a.o Yves Klein, Thierry De Cordier, Victor Vasarely, Damien Hirst, Cecily Brown, Pol Bury, Christopher Wool, Hubert Duprat, Pablo Picasso, Mark Rothko and James Tissot.

The exhibition runs at MoMu – Fashion Museum Province of Antwerp in Belgium until 17 July 2015.

More information:
– MoMu
Foundation Diploma in Art and Design
BA Graphic Design

Four Alumni Named LVMH Prize Finalists

The eight finalists (clockwise from top left): Arthur Arbesser, Coperni, Craig Green, Faustine Steinmetz, Vetements, Off-White c/o Virgil Abloh, Marques'Almeida and Jacquemus.

The eight finalists (clockwise from top left): Arthur Arbesser, Coperni, Craig Green, Faustine Steinmetz, Vetements, Off-White c/o Virgil Abloh, Marques’Almeida and Jacquemus.

The finalists for this year’s LVMH Young Fashion Designer Prize have been announced. Four of the eight labels in the running are made up of graduates from our BA and MA Fashion courses.

The shortlist includes alumni labels Arthur Arbesser, Craig Green, Faustine Steinmetz and Marques’Almeida.

Up for grabs is a grant of 300,000 euros and 12 months of personalised technical and financial support.

The last year’s inaugural prize was won by MA Fashion graduate Thomas Tait.

More information:
BA Fashion
 - MA Fashion
LVMH prize

BA (Hons) Advertising student premieres romantic drama Handle with Care at Cineworld


Handle with Care (2015) in production.

Third-year LCC student Tope Phillips has just completed his second feature Handle with Care, a British romantic drama exploring the highs and lows of love and friendship within a circle of five twenty-somethings living in London’s evolving suburbia.

The film touches on issues faced in contemporary relationships including interracial dating, serial daters, the challenges of commitment and many others, premiering recently at Cineworld Canary Wharf.

Watch the trailer //

We caught up with Tope to find out more about his work.

How did you first get into filmmaking?

I have always had an interest in films and writing, however I first got into filmmaking in my first year of university. I discovered I had a flair for filmmaking after I worked on a couple of projects.

One of my old friends Josh Bridge then contacted me, after seeing some of my work, about teaming up and creating films together at the end of 2012. We got together with the same vision and we have created two films together [the first was Squeeze, which premiered at Cineworld Chelsea].

What do you most enjoy about the process as a whole?

I enjoy every part of filmmaking, from the writing and developing of the storyline and scripts, to the audition, meeting and getting to know the actors during the rehearsals, and selecting locations for filming.

I also really enjoy the production and all the technical aspects of filming such as lighting, selecting the lenses and using different equipment on set such as the rigs and mini-cranes, and the post-production aspects such as editing, selecting the film soundtrack, designing the posters and then promoting the film.

Seeing the whole plan come together was very rewarding, however I would say my favourite part of the process was the production. This was the most rigorous, however also the most rewarding.


What has so far been the biggest challenge?

The biggest challenge was during the production of the film, we had really long days with some days starting shooting at 9am till 3-4am and resuming filming the next day at 9am.

We also had really big scenes like a scene at a comedy club where we had over 50 extras, so we had to be really organised in order for things to run smoothly.

Handle with Care is about dating in London – obviously there are a lot of films exploring this area, so what did you particularly want to address in your own film?

We made sure this film wasn’t like the typical romantic comedy/drama with the typical fairytale ending.

We made sure the characters were real and relatable and touched on many issues in young people’s relationships today such as interracial dating when parents and other parties may not approve, relationships where one party is eager to get married whilst the other isn’t, serial dating and the impacts it has, and lots more.

We also focused it on a group of friends so we could tell multiple stories at the same time.


Behind-the-scenes moments during shooting.

You’re currently studying BA (Hons) Advertising – how do you think this has helped your filmmaking?

Studying advertising gave me a can-do attitude, it definitely helped me in seeing things from different point of views.

Advertising involves a lot of planning and developing ideas which is essential in filmmaking. My lecturers helped to keep me motivated and encouraged me to pursue filmmaking.

What’s next for you?

Hopefully I can carry on making films on a bigger, better scale in the future. I also really like advertising so I might work in the advertising industry for some time.


Third-year BA (Hons) Advertising student and filmmaker Tope Phillips

Visit the Handle with Care website

Read more about BA (Hons) Advertising

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Three Students Among Savage Beauty Winners

©V&A/ Joo Yeon Kim

©V&A/ Joo Yeon Kim

The V&A has announced the five winners of its Savage Beauty competition, which asked UAL students to create an illustration inspired by the work of Alexander McQueen.

Of the students selected to have their work turned into open edition giclée prints, three are from Central Saint Martins. The prints will be available in the V&A shop.

Two of our winners – Amanda Yam and Joo Yeon Kim – are studying BA Fashion. Both drew their inspiration from McQueen’s Horn of Plenty Autumn/Winter 2009 collection.

©V&A/ Amanda Yam

©V&A/ Amanda Yam

Radical and mischievous
Amanda used acrylic paint and photoshop to create her piece. She says: “I liked the contrast of the couture influence in the silhouette and the graphical element of the Escher-inspired magpie print.”

Joo was keen to convey the volume and structure of the garment she portrayed. She explains: “I wanted to point out the silhouette and the prints on the fabric by drawing it simply, as if it were a sculpture without legs or face.”

BA Graphic Design’s Jonny Drewek created a playful take on McQueen’s ‘bumster’ jeans. Jonny says: “[McQueen] was a radical, mischievous guy, and I think he would’ve cringed at a poe-faced tribute.”

©V&A/ Jonny Drewek

©V&A/ Jonny Drewek

More information:
BA Fashion
BA Graphic Design
V&A news story

Artefact // Behind the Scenes

artefact team in newsroom

The Artefact team at work in the newsroom. Image © SUARTS

Third-year BA (Hons) Journalism student Paula Wik reflects on her experience as Managing Editor on Artefact magazine.

Behind the scenes, blood, sweat and tears are shed as we try to pull it all together. We are in the newsroom Monday to Wednesday 10am-5pm and the process is similar to that of a ‘real’ publication.

That’s because we are a real publication. Over the two terms we have worked on Artefact, over 600 articles have been published, many over 1,000 words.

We have secured interviews with big shots such as news anchor Jon Snow, Green Party leader Natalie Bennett and celebrated photographer and UAL alumnus Rankin, as well as many less famous individuals who we find inspiring and/or interesting.

We’ve done original research and created some pretty darn exciting pieces – our piece on whaling in the Faroe Islands has drawn over 3,600 unique viewers alone!

faroe islands piece

Artefact recently investigated whaling in the Faroe Islands.

Each article is painstakingly processed through the workflow from its beginnings as a ‘pitch’ (a suggestion of a story to be written – either from writers or editors), to ‘in progress’ (when writers write the story), to ‘draft submitted’ (when editors edit the piece), to ‘pending subbing’ (when sub-editors correct flow, spelling and grammar), to ‘editor’s check’ (when senior editors give the piece a once over).

Finally, the article reaches the tutors who approve the piece before publishing.

Along the way it can be sent back and forth between the writer and the editors many times for polishing and improvements – maybe another quote is needed for balance, maybe there’s a legal issue, maybe the whole piece doesn’t make sense.

Our turnaround for our print publication is very time-limited. We’re only in the newsroom three days a week and one printed edition has to be created in four weeks – from pitch to being sent off to the printer.

liberty cover

The magazine explored the idea of freedom in the Liberty issue.

Everything has to be considered – content (of course), layout, design. Will this appeal to our readers? Will our front cover make our readers want to pick it up? The balance of the articles: harder stories mixed with softer; images versus illustrations.

Does the content mirror our issue theme – this year we’ve looked at Metamorphosis, Greed, Liberty and Therapy. Does the content relate to the theme in too much of an obvious, literal or ‘samey’ way?

We work with a designer who guides us with the layout of the printed editions. We often clash, but always try to reach a compromise.

green issue cover

The Natural Capital issue was released to coincide with LCC Green Week 2015.

As the managing editor for the last two issues I have been massively privileged. Being in the middle of it all means that I have been able, and required, to learn at least a little of what all the different roles demand.

There have been many flaws in our system; some roles are only needed for a few hours per day, while my job has turned into a full-time, seven days a week position.

A big difference between Artefact and a publication out in the real world is that we are students and have not been employed – instead, we’re paying to produce the content.

We all bring varying levels of dedication, talent and experience, which has been the biggest challenge of the module. For those students who have taken ownership of Artefact, it’s enriched our experience of BA (Hons) Journalism.

liberty piece

Spread from the Liberty issue of Artefact.

I know there will be changes made for the future Artefact team, by which time we will hopefully be employed after having wowed the industry folks out there with our incredibly impressive publication.

Our baby, created from nothing, has grown up to be the talk of the town. Maybe not quite, but we’ve had amazing feedback.

I am grateful for this module and being able to leave three years of university with four brilliant editions of Artefact in my hand – knowing that the hard work we have poured into it has, to at least an extent, made up for the masses of money we have poured into our education. And did I learn…

Visit the Artefact website

Read more about BA (Hons) Journalism

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Spatial Storyworlds: CFP and Visual Presentations

Palais de Tokyo. Photo: Tricia Austin.

Palais de Tokyo. Photo: Tricia Austin.

Call for Papers and Visual Presentations for the Spatial Storyworlds Panel

The Fourth International Visual Methods Conference

University of Brighton
16th – 18th September 2015

Exhibition designers, artists and architects are invited to submit

  • A 400 word summary addressing the debate and questions outlined below
  • Five images
  • A 100 word biography

Submissions should be sent to the panel chairs:

Tricia Austin <>
Allan Parsons <>

Email attachments should be no more than 8MB


15th April 2015: Submission
27th April 2015: Notification of acceptance

Spatial Storyworlds

While immersed in watching the screen or reading a book, you are, in many senses, always ‘outside’ the story. By contrast, you can walk right into a narrative environment, becoming physically, emotionally and intellectually immersed in narrative space. It seems bodily immersion in spatialised stories heightens the sensory dimensions of narrative and simultaneously reduces other aspects of narrative experience. The majority of narrative environments e.g. exhibitions, cultural and heritage sites, brand and retail environments or crafted public realm, are not strictly determined, linear spatial experiences. They offer a different kind of immersion. Visitors/audiences/inhabitants/users tend to go where they like and construct their own narrative threads. Fixed linear sequence from a single viewpoint is one dimension that is often loosened. However, it is argued that this kind of sequence is not the primary or sole key to narrativity. Narrative spaces have authors, narrators, dramatic conflicts, content, ways of telling, events, characters, voice, shifts over time from one state to another, in other words, a plethora of narrative dimensions.

David Herman suggests even literary stories are not created simply through a sequence of events but through the construction, by the audience, of a storyworld based on cues provided by the author showing the who, what, where, when, how, why framework of the story. He also suggests that audiences recognize a story as a story, through the rhythm and change of states and events, which, it is suggested, take material, visual and spatial form in physical spaces. Cues, states and events can vary from relatively stable architectural structures and spatial arrangements; more temporary printed graphics; still and moving image; sound; light effects; fast changing digital layers, usually accessed through mobile technologies; and, finally, the behavior of other people in the space.

The panel will explore the question: if we conceive of narrative environments as storyworlds rather than strict linear sequences, how does this change design practice particularly in relation to visual methods? The panel seeks to address this question through visual case studies critiqued through spatial, narrative or cultural theory.

Please email the panel chairs with any queries:  Tricia Austin or Allan Parsons

Grayson Perry announced as new UAL Chancellor

Turner Prize-winning artist Grayson Perry will be the new Chancellor of  UAL and will take up the post on 1 August 2015.


Grayson, who is widely recognised as one of the UK’s leading contemporary visual artists, will take over the honorary role from Kwame Kwei-Armah who will come to the end of his four year term of office after the University’s Graduation Ceremonies in July 2015.

Grayson’s appointment crowns a close association with the University which spans many years. He has regularly lectured at the University, been a Governor at UAL since 2010 and is a regular attendee at the University’s Summer Shows.

Grayson commented: “I am delighted, honoured and proud to take on the role of Chancellor of the University of the Arts London. I hope to use the position to act as an ambassador and champion of the arts and especially high quality arts and design education.

“Being an artist has given me so much, my career, my friends and my sanity, not to mention my wardrobe! Becoming Chancellor gives me a platform from which to communicate the great good the arts and especially UAL offers both to individuals and society.”

Nigel Carrington, Vice-Chancellor of UAL, said: “Grayson has an astounding ability to speak for the maker, the student and the audience of art. We are proud to have appointed this unmissable artist and advocate as UAL’s Chancellor.”

Welcoming the appointment, Sir John Sorrell, Chairman of UAL, said: “Grayson has been a friend to UAL for a number of years now and we are delighted to welcome him as our Chancellor. As a high-profile campaigner for the importance of the arts and the right for anyone to access a creative education, he is a fitting representative for UAL.

“On behalf of everyone at the University, I would like to thank Kwame Kwei-Armah for his years of devoted service on behalf of our students and staff.”

Second year Central Saint Martins BA (Hons) Fashion students design a dress for Grayson every year, based on a brief written by him. Grayson attends sessions every week during the process, and each year he buys up for 14 outfits and wears them to high-profile events.

In 2013 Grayson delivered The Reith Lectures on BBC Radio 4, hosting the final one in the series at the University’s Platform Theatre at Kings Cross.

Grayson was awarded the Turner Prize in 2003, the first time it was given to a ceramic artist. He has had solo exhibitions at the British Museum and Barbican Art Gallery in London, Pittsburgh’s Andy Warhol Museum and Luxembourg’s Musée d’art moderne Grand-Duc Jean.

Recent shows include the Charms of Lincolnshire (a show using a collection of social history artefacts), My Civilisation (a large survey of his work shown in Japan and Luxembourg), and Unpopular Culture (a touring show with pieces curated from the Arts Council Collection). In 2012, Grayson created the Vanity of Small Differences, a six-piece tapestry.

In his 2013 BAFTA award-winning series on Channel 4 ‘In All in the Best Possible Taste with Grayson Perry’ he explored taste and class in the UK.