Archive for the ‘Student’ category

Pulse – Trade Show Professional Development Programme

In conjunction with our stand at Pulse London this year, SEE is running a series of free training events for people wanting to exhibit and sell at trade shows

Writing a Press Release for your Design Brand
6-7pm, Thursday 24 April
Ground Floor Lecture Theatre, UAL, 272 High Holborn, WC1V 7EY
Book your place

Protecting & Licensing Your Designs
6-7pm, Tuesday 29 April
Ground Floor Lecture Theatre, UAL, 272 High Holborn, WC1V 7EY
Book your place

Attracting and Selling to Trade Buyers
12pm-1.30pm, Friday 2 May
Room 313, UAL, 272 High Holborn, WC1V 7EY
Book your place

Research Student, Samson Kambalu wins AHRC funding for a summer fellowship at Yale

Two Mushroom Clouds UAL Samson Kambalu

Samson Kambalu is a PhD student at Chelsea College of Arts, UAL, his research project, 13th Room:  The General Economy in Meschac Gaba’s Museum of Contemporary African Art is funded by the AHRC. Samson has recently been awarded funding for a fellowship at Yale Center for British Art for the Summer of 2014. Samson says of the opportunity,

Yale is an exciting opportunity for me both as a student and an artist. My time there will not only offer me rare material resources and expertise regarding psychogeography and themes of sovereignty in William Blake and Romantic art, but will also be a unique opportunity for me to develop my research and practice while in communication with world class researchers, curators and artists. I would hope that these connections could lead to long term, collaborative opportunities.

My practice as a cosmopolitan artist of African origin has involved travelling to various cities popular with African diaspora, such as London, New York and Paris, and being inspired by their psychogeography. Coming to New Haven will enable me to carry out this endeavor while deepening my knowledge of how Romantic and African ideas of sovereignty, such as the Nyau masquerade tradition of my father’s tribe the Chewa, can be translated within contemporary art and the everyday life.

UCU Marking Boycott starting 28 April

Message from Mark Crawley, UAL Dean of Students

UCU, the trades union for academic staff, is planning a marking/assessment boycott with effect from 28 April. This action is clearly designed to maximise the impact on students and particularly those due to complete their course this summer. We will do all we can to minimise any disruption to your assessment.

This industrial action is being taken as part of a national dispute relating to pay increases from August 2013. UAL, like most other universities, participates in national pay negotiations because we believe it is important that academic (and other) staff are treated equally wherever they work in the higher education sector.

None of us want this action to happen but it is important that students are aware of the true picture. There have been claims of a 13% real terms pay cut since 2009 but this is untrue. More details are explained in the Frequently Asked Questions information available online. In the public sector generally (and indeed other sectors) there have been stringent pay freezes. In universities we have all been keen to ensure that our staff do receive increases – both through national pay rises and incremental progression on salary scales.

Further information about what we are doing to reduce the impact of the boycott on students – and particularly those completing their course this summer– is in the Frequently Asked Questions information.

Sasha Bowles – Future Map 2013 exhibitor on her postgraduate student experience

Wimbledon College of Arts catches up with MFA Fine Art alumna, Sasha Bowles on her experience as a postgraduate student, her current practice and what’s next for Sasha as an artist.

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Sasha Bowles, ‘It Went By’. Oil on Linen 40 x 30 cm

WCA: What was your time studying at Wimbledon like?

SB: Really intense. Having not been in education for a while, I felt I had been thrown in at the deep end. Drowning at times, feeling exposed, but finding support was there when it was needed. I felt it was a privilege to have had 2 years to really explore what my work was about and  learn how to articulate it.

WCA: What did you find was the most valuable transferable skill you learnt whilst studying the College?

SB: Researching. Feed your practice.

WCA: Tell us about your current practice.

SB: My current practice is predominately painting and mostly dealing with subject matter relating to memory. The fallibility of memory, how it morphs and folds in upon itself. I use landscape as a trigger for memories; incorporating, real, imagined and appropriated images. The paintings are either small and intimate or large and foreboding.

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Sasha Bowles, ‘The Disproportionate Loss of Self in an Altered Landscape’. Oil on Canvas 150 x 180 cm

WCA: What has been your proudest moment as a practicing professional so far?

SB: Recognition for my work by selection for various exhibitions including Future Map.

WCA: What is next for you?

SB: Further explorations into my practice, continuing to push at the seams. Inclusion in The Open West, Oriel Davies exhibitions. Working towards several group shows in London.

WCA: Any advice for future Fine Art students?

SB: Embrace everything. The time goes really fast. Use all the facilities. Leave your comfort zone. Be prepared to fail again and again. Collaborate with your peers. Go to every show you can. Build networks outside college as well. Trust and challenge your tutors. Claim your practice. Have fun.

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Sasha Bowles, ‘Swept Through the Woods’. Oil on Linen 40 x 30 cm

Sasha graduated from MFA Fine Art 2013.

To find out more about our Postgraduate Courses, book onto one of our Postgraduate Open Days.

The post Sasha Bowles – Future Map 2013 exhibitor on her postgraduate student experience appeared first on Wimbledon Blog.

Designing for Exhibitions


A PhD Colloquium exploring the roles of design in exhibitions and exhibition making.

This one-day colloquium seeks to create a platform for the discussion of current PhD research in the area of exhibition design, and to initiate dialogues on questions including: What is exhibition design? Who are the designers, producers, makers and authors of an exhibition? What part does design play in museum and exhibition making? What is the role of the designer? How are these positions evolving with changing interpretation and display strategies? What is the relationship between design and content, between design and object? What is the connection between the designer and the curator, the institution, the visitor? The colloquium is held in association with the “Chaos at the Museum” conference, organised by Central Saint Martins and The University of California Davis.

25 April 2014
9:15 – 17.30
Room M207
Central Saint Martins
Granary Building
1 Granary Square
London, N1C 4AA

Please note that the colloquium is now fully booked. If you would like to be placed on the waiting list, please email Jona Piehl at
Follow our conversation on Twitter @DesigningForEx #exhibitCSM


9:15 Registration

9:45 Welcome

10:00 – 12:00 APPROACHING

From Tutankhamun to the First Emperor: A Narratological Analysis of Exhibition Design at the British Museum
David Francis (University College London)

Think – Feel – Do: Designing for Visitor Experiences
Toni Roberts (RMIT Melbourne)

When the Designer Designs their Own Exhibition: Thoughts about the Scenography of the Retrospective Exhibition of Ronan and Erwan Bouroullec, “Momentané”, Musée des Arts Décoratifs, 26 April – 1 September 2013
Brigitte Auziol (Université de Nîmes/Université d’Avignon et des Pays du Vaucluse)

The Exhibition as Experience
Donna Loveday (Kingston University/Design Museum, London)

12:00 – 13:30 Break

13:30 – 15:30 STAGING

Between Bodies: Designing for Material Proximity in Medical Exhibitions
Ane Pilegaard Sørensen (Medical Museion, Copenhagen)

Shop the Museum: Designing Exhibitions about Consumer Culture
Mario Schulze (University of Zurich)

Exhibiting the Norwegian Roma: Discussing the Visitor as Scenographic Material
Annelise Bothner-By (Oslo National Academy of the Arts)

Polish Exhibition Design: Reframing the Past and Designing the Future on the 30th Anniversary of the Polish People’s Republic
Kasia Jezowska (London)

15:30 – 16:00 Break

16:00 – 17:30 PERFORMING

Between Exhibiting Design and Designing Exhibitions: Notes from the Field of Graphic Design
Maddalena Dalla Mura (Free University of Bolzano)

The Exhibition as Speculative Design: Gillian Russell in conversation with Onkar Kular
Gillian Russell & Onkar Kular (Royal College of Art, London)

Organised by Jona Piehl (CSM)
Assistance: Claire M. Holdsworth (CSM)
Design: Francisco Laranjo (LCC)


David Francis
David Francis is interested in narrative, museum interpretation and visitor behaviour. He has worked in the visitor studies field since 2005, beginning as a research assistant at Chester Zoo, where he experimented with different ways of capturing how visitors engaged with the zoo’s exhibits and their inhabitants. Since 2007, he has worked at the British Museum as an interpretation officer and audience advocate on multiple exhibitions including Shah ‘Abbas Remaking Iran, the Ancient Egyptian Book of the Dead, Hajj: Journey to the Heart of Islam and Life and death in Pompeii and Herculaneum. In 2011 he began a PhD at University College London, which explores the relationship between the British Museum’s exhibition narratives and the narratives that visitors bring with them as part of a museum visit. He holds a Masters in English Literature from Leeds University, where he focused on analysing the narrative structure of James Joyce’s Ulysses.

Toni Roberts
Toni is a practitioner and researcher in the design of interpretive exhibits and environments for zoos, museums and public spaces. Toni’s PhD thesis, ‘Interpretation Design: building knowledge from practice’ (2013) examines interpretation design as an emerging practice undertaken in collaborative interdisciplinary teams. Drawing on practitioner knowledge gathered through interviews and qualitative case studies, this research investigates various impacts on the designer’s role, how design contributes to visitor experiences and the defining characteristics of interpretation design. The research supports practice by providing theoretical and practical frameworks for planning and critique and contributing to the development of a shared vocabulary for articulation of designer knowledge. A basic model of the foundations of interpretation design encompasses design approaches, techniques and types. A typology of design outcomes illustrates the designer’s use of cognitive, affective and physical modes of visitor engagement. Toni’s current and recent collaborative projects include: Royal Australian Mint Gallery Enhancement and content framework, Werribee Open Range Zoo Entry interpretation design, Whittlesea Bushfire Memorial, Te Wao Nui interpretation design for Auckland Zoo and the World Heritage Exhibition Centre for Mount Tomah Botanic Garden.

Brigitte Auziol
Brigitte Auziol is a design teacher at the Université de Nîmes and a 3rd year PhD Candidate in ‘Information and Communication Sciences’ at the Université d’Avignon et des Pays du Vaucluse, Culture & Patrimony doctoral school, UMR 8562: team Culture & Communication, Norbert Elias Centre, under the direction of professor Marie-Sylvie Poli. Her research entitled ‘La médiation du design par l’exposition’ (The mediation of design through exhibition: forms and intentions) focuses on the exhibition as a place that showcases design and can help to analyse its manifestation. Prior to undertaking this research, she graduated from the Ecole nationale Supérieure des Arts décoratifs, Paris (1996) and holds a Master Auteur, rédacteur multimédia from the Université Montpellier 3, Ecole des Mines d’Alès (2003). Brigitte is interested in the reality of exhibitions as a practitioner and teacher of design. The recent appearance of design in public spaces has established alternative cultural status for design in society. The exhibition is a place that glorifies design and can help to analyse this phenomenon. Her research has two goals in identifying, classifying, and analysing types of exhibition design: to better understand the nature of what is exposed as design and to explore its meanings.

Donna Loveday
Donna Loveday is Head of Curatorial at the Design Museum, London. She curates design and fashion exhibitions and oversees the museum’s MA Curating Contemporary Design, run in partnership with Kingston University. She also has responsibility for the Design Museum Collection and Archive. Donna was previously Head of Exhibitions at the Design Museum, and managed the temporary exhibitions programme and curatorial team. In 2002, she established a successful international touring programme at the Museum. During her twelve years at the Design Museum, Donna has curated a number of high profile exhibitions including ‘Verner Panton: Light and Colour’ (1999); ‘Modern Britain 1929-1939’ (1999); ‘When Philip Met Isabella – Philip Treacy’s hats for Isabella Blow’ (2002), ‘Saul Bass’ (2004); ‘Somewhere Totally Else: The European Design Show’ (2006); ‘Matthew Williamson: 10 years in fashion’ (2006); ‘Hussein Chalayan – From fashion and back’ (2009); ‘Christian Louboutin’ (2012) and ‘Hello, My Name is Paul Smith’ (2013), and is in the process of curating an exhibition on ‘Women, Fashion and Power’ due to open in October 2014. Before joining the Design Museum, Donna was Exhibitions Manager at the British Film Institute and Exhibition Organiser at Barbican Art Gallery where she curated fine art and photography exhibitions including ‘Eric Gill: Sculpture’ (1992) and ‘Impressionism in Britain’ (1995). Donna has a research interest in contemporary curating practice and is currently studying for a PhD by Practice at Kingston University, ‘The Exhibition as Experience: Research and Practice in Contemporary Design Curating’. She is a Fellow of the Royal Society of Arts.

Ane Pilegaard Sørensen
Ane Pilegaard Sørensen graduated from The Royal Danish Academy of Fine Arts, School of Design in 2010, where she specialized in Exhibition Design. Since 2011 Ane has been employed at Medical Museion in Copenhagen, partly involved in practical exhibition making and partly doing research on exhibition design and medical science communication. In November 2013 she started her PhD project entitled ‘Body, Museum, Medicine – spatial-material strategies in exhibition design’ at Medical Museion. This PhD project is practice based and is conducted at Medical Museion (Department of Public Health, University of Copenhagen) in collaboration with The Royal Danish Academy of Fine Arts, School of Design. Prior to her affiliation with Medical Museion she worked in the field of art exhibitions at The National Gallery of Denmark and Den Frie Centre of Contemporary Art. Ane’s research deals with spatial and material qualities in exhibition media. This research explores how to utilize these qualities in exhibition design and how exhibitions might address a richer complex of sensory modalities, rather than just the focused eye. She is especially concerned with the interconnection between visual and tactile sensory modes, and how they supplement each other in the perception of exhibition displays.

Mario Schulze
Mario Schulze is a full-time PhD-Student at the University of Zurich, conducting research into the history of museum exhibitions in Germany and Switzerland (1960-2000). Mario is funded by the German National Academic Foundation and teaches the history of museums at the University of Zurich and the Humboldt University Berlin. His research focuses on the intertying fields of knowledge, museums and consume. He is interested in the recent history of material culture and architecture and blogs about exhibitions on Mario holds a Magister Artium (the German equivalent to a Masters degree) in Cultural Studies, Philosophy and Sociology from the University of Leipzig in 2010. He has worked for various institutions that exhibit ‘history’ such as the Holocaust Center of Northern California (San Francisco), the Roman Museum of Basel Augusta Raurica and the Zeitgeschichtliches Forum in Leipzig (Branch of the House of the History of Germany) as well as the German Historical Institute in London. In 2012 he had a residency at the Museumsakademie Joanneum in Graz.

Annelise Bothner-By
Annelise Bothner-By is a research fellow within ‘exhibition design’ at the Faculty of Design, Oslo National Academy of the Arts. Her research fellowship is organized and funded by The Norwegian Artistic Research Fellowship Programme. This is an equivalent to an academic PhD, with the specific feature that its outcome should be artistic work accompanied by a critical reflection. Bothner-By’s research project is concerned with the visitors’ spatial presence and social interaction within the exhibition space, and how the visitor is part of this situation. She explores the transitions between the visitor as social actor and a narrative element. She conducts this practice-based research through site-specific designs in collaboration with Oslo City Museum, the Cultural History Museum and The Natural History Museum in Oslo. She is an educated interior architect MNIL, with 10 years practice as an exhibition designer, and holds as additional bachelors degree in ‘Pedagogy, History and Cultural Ethnology’.

Kasia Jezowska
Kasia Jezowska curates, writes and lectures about design and exhibitions. She graduated from the joint MA in Curating Contemporary Design at Kingston University/Design Museum and completed an MA in History of Art at the University of Łódź, Poland, with a dissertation about recent Polish design displays. Her current research, initiated at the Royal College of Art, examines Polish design exhibition history after the Second World War. She also works as an Associate Lecturer at Central Saint Martins and the University of Arts, Poznań.

Maddalena Dalla Mura
Maddalena Dalla Mura carries out research in the fields of graphic design, design history and museum studies. She holds an MA in Preservation of the Cultural Heritage and received her PhD in Design Sciences from the Università Iuav di Venezia in 2010, with a thesis on design and museums. She served as assistant curator for the exhibition Graphic Design Worlds, curated by Giorgio Camuffo and held at the Triennale Design Museum in 2011. In 2012/2013 she collaborated as a researcher at the Faculty of Design and Art at the Free University of Bozen-Bolzano, investigating the relationship between graphic design, the exhibition context and curating. Recent publications include:  Graphic Design Worlds/Words (co-editor with Giorgio Camuffo; Electa, 2011); chapter “A Historiography of Italian Design” (with Carlo Vinti) in Made in Italy: Rethinking a Century of Italian Design (Bloomsbury, 2013); “Graphic Design, History, Italy” a special issue of the magazine Progetto Grafico (co-editor with Carlo Vinti, Aiap, 2013); Graphic Design, Exhibiting, Curating (proceedings of the conference of the same title, organised in 2012; co-editor with Giorgio Camuffo; bu,press, 2013).

Gillian Russell
Gillian Russell is a designer and curator whose projects centre on the interplay between design and its critical contexts. She is co-founder of the design think tank, and since 2006 has been Senior Tutor in the MA Curating Contemporary Design Programme at Kingston University, London (run in partnership with the Design Museum, London). She is completing a PhD in Design Products at the Royal College of Art, London. Her research addresses the relationship between emerging design practice and museums, and is being undertaken as part of an AHRC funded collaborative doctoral award with the Victoria & Albert Museum, London.

Onkar Kular
Onkar Kular is a British designer and artist based in London. His work is disseminated internationally through exhibitions, workshops, lectures, film festivals and publications. He combines his own practice with research and teaching at the Royal College of Art in London, where he runs a teaching unit in the Design Products Department. Recent exhibitions include Risk Centre with Inigo Minns, an installation at the Architecture Museum in Stockholm. I Cling to Virtue with Noam Toran & Keith R. Jones, an installation at the Victoria & Albert Museum, London, 2010. Other projects include The MacGuffin Library (with Noam Toran & Keith R. Jones), 2008 and Elvis Was Here, 2008.

Artist Frank Bowling donates two new scholarships to MA Fine Art at Chelsea

Frank Bowling at home © Gavin Freeborn.

Frank Bowling at home © Gavin Freeborn.

Two MA Fine Art students from the UK and Europe will have the opportunity to apply for their course fees to be fully paid this year, thanks to a kind donation from artist and Chelsea alumnus Frank Bowling OBE, RA. 

To celebrate the launch of these new scholarships, which will support ten students over the next five years, we visited him at his home a stone’s throw from Chelsea’s Millbank site to talk about his long career as a successful painter on both sides of the Atlantic and what inspired him to want to support the artists of tomorrow.

Frank Bowling became an artist in 1956 after completing his National Service which saw him employed as a clerk in the RAF. On meeting the artist Keith Critchlow and sitting for a portrait by him, he says he got a feeling suddenly, out of the blue, that “poetry was the best way to talk to myself, about myself” and began to write. Now known for his painting, he first picked up a paintbrush while looking for a more physically-involving form of self-expression. “What inspired me to make the move was that I felt, on being introduced to painting particularly, that I was using more of myself – I was using my body – to deliver the material onto the surface of the canvas.  It seemed to me more all encompassing than sitting at a desk with a blank piece of paper trying to deliver what you’re feeling and thinking.”

He hasn’t given up on language entirely, however. “A blank canvas is much more inviting to me than a blank page. Though I’m constantly scribbling this, that and the other. I play with words in my titling using riddles and hints, because the paintings are there to deliver their own message and if you can open a door to the content of the stuff on the surface, all the better. Just yesterday someone was asking me about one of my titles!”

Having decided he wanted to study visual art, he joined Chelsea before winning a scholarship to the Royal College of Art in 1959. At the RCA, his fellow students included David Hockney to whom he lost out on the gold medal when they both graduated in 1962. Frank showed us his silver medal which happens to be sitting in its box on the coffee table, and I spied some spots of red paint along the edges. It has clearly been with him to the studio once or twice.

Frank has had the same studio in Elephant and Castle for the past 30 years, and at the age of 78, in spite of some health problems, he still visits it to paint for at least two hours every day.

Frank Bowling OBE, RA In his studio, London, 2008. Photograph: Luke Potter

Frank Bowling OBE, RA, in his studio, London, 2008. Photograph: Luke Potter

Once he had left college, he visited New York in the mid-1960s, and it was here that he moved from figurative to the more abstract work that he still makes today. Indeed, he still has a home there in the DUMBO area of Brooklyn with a view of the bridge and, as in London, right by the river. There, his studio is in the same building in which he lives, and Frank describes the time he spends there as an idyllic existence, hearing “the musical rattle of the subway trains over Manhattan Bridge” as he listens to jazz or classical music on the radio.

Though he is no longer able to spend half the year there, he still visits. Indeed, his next visit to New York will be for a show of new work at his gallery, Spanierman Modern, which opens this month, and has also financially supported an arts centre in New Jersey that was founded by a friend of his, allowing them to buy the building and create a sustainable complex dedicated to art, music and dance.

It is clear that he thinks it’s important to offer support to other practitioners where and when he can, an instinct which can be traced back to his membership of the artist-run The London Group which was set up in 1913 as a counter-balance to institutions such as the Royal Academy. Though still a member and former vice chancellor of the group, Frank has since become the first black artist to be elected a Royal Academician.  When asked what drove his decision to set up these scholarships for MA Fine Art students at Chelsea, it seems that it was a straight-forward decision to make. “The thing is, it’s always the simple things that are so difficult to explain. Clearly my own life informs the decisions to do things like this: when I was a student, if there was somewhere I could have gotten a scholarship to avoid having to ask my parents for support I would have done it.”

“My own agreement to do this is informed by that experience and I can only say that my fortunes having changed, it seemed to me rather a waste to give the money to a government that is not particularly supportive of cultural heritage.” He adds, “I’m not grumbling about the state of government or anything, I just know culture comes last on the list. By the time I was teaching [at Camberwell College of Arts] Mrs Thatcher came along and all the students’ support systems vanished overnight – no grants, you couldn’t get materials…”

“What it did is expose yet another aspect of culture: people who want to make creative things will do it anyway, they’ll do it with anything! Put an artist under pressure and they will find a way of coping and my contribution here is a way of facilitating that. Artists will always do what they have to do and find ways of doing it, but if I can find ways to alleviate some of that stress then you’re duty bound to do it.”

Frank Bowling, Hafenlicht, 2007, acyrlic on canvas.  Image courtesy of the Artist and Hales Gallery, London.  Copyright of the Artist.

Frank Bowling, Hafenlicht, 2007, acyrlic on canvas. Image courtesy of the Artist and Hales Gallery, London. Copyright of the Artist.

The London Group was founded in part by artists who would go on to found the Vorticist movement, and Frank still identifies with a modernist tradition in his work today. Inspired while in America by the abstract expressionists and colour field paintings, the influences are still visible in the works he makes. Among the artists he mentions as he talks are Matisse, whose work he is “rethinking” and Auerbach, whose work at the De La Warr Pavillion in Bexhill recently “transfixed” him with “vicious brush strokes”.

However, he’s also looking further back into art history. “Right now I’ve been looking at Chinese art, which is partly to do with the fact that my dealer gave me a big bag of silk to use in the work I’m making and the Chinese painted on silk, so I’ve been looking at that in particular.  I’m using the silk in a very different way, but I’m looking at the way silk has been involved in the making of art in history.  I’m still quite visited by a lot of classical African art such as works by the Bambara and since what I do is extemporizing all the time, it’s coming from nowhere, coming from everywhere and coming from me.  I don’t feel inhibited by hints in my work of other cultures, I feel it’s available to me and I can use it if I can make works that have that ingredient of modernism.”

“Novelty is a large ingredient in modernist art and of course, like anything else, novelty can be excessive and you can get ‘bling’ rather than art.  I’m more concerned with carrying on the modernist tradition than locating myself into any sort of cultural bracket.”

Frank Bowling, As Above So Below, 1982,  acrylic on canvas.   Image courtesy of the Artist and Hales Gallery, London. Copyright of the Artist.

Frank Bowling, As Above So Below, 1982, acrylic on canvas.
Image courtesy of the Artist and Hales Gallery, London. Copyright of the Artist.

Indeed, with regards to this aspect of his work, he admits that he has been frustrated in the past by being pigeonholed as a black artist, and the expectations this gave people about what his work should look like and be about. Born in Guyana, South America, his family settled in the UK when Frank was 15 years old. Yet his thoughts in response to Chelsea’s recent appointment of Paul Goodwin and Sonia Boyce as Chairs of Black Art and Design are perhaps somewhat unexpected. “I think terminology can be excluding – I don’t think there’s any such thing as ‘black art’, I think black people make good art.”  He is supportive of both Paul and Sonia’s work, however, and is looking forward to seeing how the new roles have an impact at the level of higher education.

With our time at his flat coming to a close, we decided to end the conversation by asking him if he had any words of advice for the students that are about to embark on their post-graduate studies. “Keep on keeping on – just hang in there and on with it. The system is daunting and younger artists don’t realise that. When you start making art there’s something called ‘the career‘ that comes behind it and that’s the most difficult bit to deal with. It’s almost as if you can’t escape ‘career’. The art part is organic, natural, but the career concerns can be daunting and in fact a lot of people become disenchanted with the activity because they tend to weigh down your spirit.”

“Remember to go back and get on with your work. Have a good time in your studio, that’s where it’s at.”


Find out about the Frank Bowling Scholarships, and other opportunities for support in funding  your postgraduate studies at University of the Arts London on our Postgraduate Scholarships page.

Frank Bowling, Bartica Born I, 1968, acrylic on canvas.  Image courtesy of the Artist and Hales Gallery, London. Copyright of the Artist.

Frank Bowling, Bartica Born I, 1968, acrylic on canvas. Image courtesy of the Artist and Hales Gallery, London. Copyright of the Artist.

You can find out more about studying MA Fine Art at Chelsea College of Arts by visiting our course page.

The art of protest – UAL holds Jeremy Deller schools masterclass

The role of art as a form of political protest has been brought vividly to life for over 100 London schoolchildren, thanks to a National Art&Design Saturday Club masterclass with Turner Prize-winning artist Jeremy Deller.

Photograph by Magnus Andersson

Photograph by Magnus Andersson

The 14 and 15 year olds from schools across London spent a day with Deller creating large painted protest banners on issues including war, the environment, and education.

The day also included a Q&A session with Deller on his work and career as an artist and a musical portraiture game, which saw students from three different UAL National Art&Design Saturday Club groups get to know each other by making three-minute drawings of each other to a soundtrack they had created collectively. The day concluded with a procession of the banners through the main street of UAL’s campus for Central Saint Martins at King’s Cross.

Photograph by Magnus Andersson

Photograph by Magnus Andersson

The event aimed to raise students’ awareness that art is part of their everyday life and can be a powerful way to make your voice heard.

“I learned that it isn’t only drawings that are art, but also things like a poster or a piece of music,” commented one student. Another added: “I learned that designs don’t have to be complex to get your message across.”

“It was genuinely a pleasure to give the masterclass,” said Jeremy. “A very thought-provoking day all round.”

Photograph by Magnus Andersson

Photograph by Magnus Andersson

Explaining the importance of art and design masterclasses, Nigel Carrington, Vice-Chancellor of UAL, added:

“The UK is renowned worldwide as a creative nation, and our creative and cultural sector is a huge generator of exciting job opportunities for young people. We want everyone with an enthusiasm for art and design to be able to develop their talent and take advantage of the incredible variety of careers that the creative industries offer. With these subjects increasingly falling out of squeezed school curricula, Saturday clubs are a tremendously important way of supporting creative learning. We are hugely grateful to Jeremy Deller for giving his time to inspire the next generation of creative innovators.”

Photograph by Magnus Andersson

Photograph by Magnus Andersson

The visiting students are all taking part in UAL’s Saturday Drawing Programme, a 16-week course that brings them to UAL every Saturday morning to work with UAL tutors and students. It is built around the UAL Awarding Body’s Level 2 Award in Drawing, and is part of the University’s widening participation programme and the Sorrell Foundation’s National Art & Design Saturday Club.

Photograph by Magnus Andersson

Photograph by Magnus Andersson

Sir John Sorrell, co-founder of the Sorrell Foundation and Chair of UAL’s Board of Governors, welcomed the students by telling them that his distinguished career in the creative sector was kicked off by Saturday morning classes at Hornsey College of Art.

The Sorrell Foundation now facilitates Saturday Clubs in 33 art and design colleges across the UK, which provide young people aged 14-16 with the unique opportunity to study art and design every Saturday morning at their local college or university for free and culminate in an exhibition of work by all students involved at London’s Somerset House in June.

The Sorrell Foundation is a charity set up by John and Frances Sorrell in 1999 with the aim of inspiring creativity in young people and improving lives through design.

MA Drawing exhibition ‘Just for the day’ responds to The National Gallery collection

MA Drawing students showcased their work at The National Gallery at a one off event ‘Just for the day’.

Working with Colin Wiggins, the Contemporary Curator at The National Gallery, students created new work in response to paintings from The National Gallery’s collection.

The show has been re-installed in the Foyer Gallery at Wimbledon College of Arts, running 3 April – 24 April 2014.


Gareth Morgan, ‘Missing Person’ 2014

Camille Pissarro's The Avenue, Sydenham (1871)

Camille Pissarro, ‘The Avenue, Sydenham’ 1871

An intriguing feature of Camille Pissarro’s ‘The Avenue, Sydenham’, is his removal of a figure from the foreground of his Impressionist painting of suburban London made in 1871. I have considered who the missing person might be, why they disappeared and what the scene might look like if they were returned to the south London street today, 143 years later. In my drawing the dangerous dog drags Pissarrio’s absentee in front of a van racing down a rat run as the oblivious driver chats away on their mobile phone. Doomed, she crosses from life to death. . .

Gareth Morgan.


Shaun Dolan, ‘Collaborative Drawing’ 2014

London National Gallery Next 20 12 Luca Giordano - Perseus turning Phineas to Stone

Luca Giordano, ‘Perseus turning Phineas and his Followers to stone’ early 1680s

The painting ‘Perseus turning Phineas and his followers to stone’ by Luca Giordano, tells the story of Perseus and Andromeda’s wedding celebrations, which have been broken up by Pineas and his army. Phineas, a former suitor of Andromeda bursts in to attack his rival, however Peseus reveals the head of Medusa and turns them to stone.

I presented Giordano’s painting to a small group of children; discussing the story behind it and exploring in more detail the characters, background and overall impact of the painting.

‘Collaborative drawing’ is a digital print response put together from individual drawings by 10 different children. The children used permanent pen to create their own drawing as this eradicated the temptation for change or correction. The drawings were re-scaled and positioned to emulate Giordano’s painting narrative. Inverting the final composition accentuates the children’s powerful mark making whilst sectioning it into 9 panels offers further narrative possibilities.

Shaun Dolan.

Rosalind Barker, 'A Fine Line' 2014

Rosalind Barker, ‘A Fine Line’ 2014

Quinten Massay, 'An old Woman (The ugly Duchess), 1513

Quinten Massay, ‘An old Woman (The ugly Duchess), 1513

I was drawn to the beautifully exicuted tender mark making in oil on wood to replicate her tissue paper skin and each individual embroidery stitch in her hat. Her arthritic hands with bitten, dirty fingernails nails holding a tiny rosebud fascinated me.

The breadth of tricks and illusions employed by artists to direct the viewers eye around the painting surprised me, particularly in their use of hands.

My aim in ‘A Fine Line’ was to capture the delicacy of my ‘old’ hands performing an awkward deception. I imply that my image was captured by the familiar use of photography to replicate the quality of the oil painting by Massey, combined with the mood of such masters as Caravaggio or Vermeer.

My hands appear to be holding a taught ultra fine line of minuscule proportion, like a hair; in reality on closer inspection the line is an illusion.

Rosalind Barker.

Guoxin Fu, 'Gaze' 2014

Guoxin Fu, ‘Gaze’ 2014

Bartolome Esteban Murillo, 'Self Portrait', 1670

Bartolome Esteban Murillo, ‘Self Portrait’, 1670

In Guoxin Fu’s work ‘Gaze’explores the role modern media plays in spreading human consciousness in response to Bartolome Esteban Murillo’s, ‘Self Portrait’ 1670.

MA Drawing 5

Jhih-Ren Shih, ‘Mr Page and his family butchers shop’, 2014

Christen Kobke, 'Portrait of P. Ryder, 1848

Christen Kobke, ‘Portrait of P. Ryder, 1848

Jhih-Ren Shih chooses to feature The Butcher local to Wimbledon College of Arts to represent the everyday working man in response to Christen Kobke’s ‘Portrait of P. Ryder’ 1848 (The Baker).

See the entire exhibition of 20 works by MA Drawing students in response to The National Gallery collection, re-installed at Wimbledon College of Arts.

‘Just for a the day’

Wimbledon College of Arts

Foyer Gallery

3 April – 24 April 2014

Monday – Friday (excluding Bank Holidays)

9 am – 5 pm.

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David Toop: Offering Rites at Central Saint Martins

Offering Rites
Music legend David Toop is currently presenting a series of events called Offering Rites at Central Saint Martins. As a tasty side dish, we serve up a little background information on the man.

Toop, who was recently appointed Chair of Audio Culture and Improvisation at UAL, is a legend in arts and music circles. A musician, writer and critic, he is one of the most influential names on the UK’s experimental electronic music scene.

His journey started way back in the 70s and he’s worked with an incredible roster musical pioneers, from Brian Eno and Luke Vibert to John Zorn and Grandmaster Flash. Toop has collaborated with artists from many disciplines, including theatre director and actor Steven Berkoff.

As a critic and columnist, Toop has written vitally influential pieces for publications such as The Wire, Dazed And Confused, The Face, The Times, The Sunday Times, The Guardian, Arena and Vogue.

Innovative and immersive
As a leading authority on music Toop has lent his inimitable voice to books on a variety of genres. He’s responsible for Rap Attack, a ground-breaking book documenting the origins of hip-hop. His second book, Ocean of Sound, explores how ambient isn’t a genre so much as a ‘way of listening’.

Highly respected by artists and critics alike, Toop has a reputation for innovative, immersive performances. Speaking about the current series of events, he said: “these are best imagined as a means to connect with methods of making and remembering, unmaking and forgetting.

“They are more concerned with the unfinished or in-between, that which is difficult to articulate or impossible to exhibit; each one will involve offerings of different kinds, opportunities to listen, to watch, to speak, to be silent.”

The final installment of Offering Rites will take place this Saturday (2 April 2014).

More information:
The Offering Rites event series at Central Saint Martins
Offering Rites 3: Beyond the Object

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Fashion can be so much more says the Craft of Use project

Craft of Use exhibition at LCF featuring photography by Kerry Dean. Model: Jean Woods.

Craft of Use exhibition at LCF featuring photography by Kerry Dean. Centre model: Jean Woods.

Conversations on alternative forms of fashion have flowed from the success of Craft of Use hosted by LCF and the Centre for Sustainable Fashion, and led by researcher Kate Fletcher.

The event, which saw artists, academics and fashion designers come together to discuss fashion beyond consumerism, generated lively thoughts and stories online and on site.

As Kate writes,

“Fashion is seen as the poster child of consumerism, but it can be so much more.”

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