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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.

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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.

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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.

The post MA Drawing exhibition ‘Just for the day’ responds to The National Gallery collection appeared first on Wimbledon Blog.

Review of FAD provision

The University plans to carry out a review of its Foundation Art Diploma provision, an area in which UAL has built a strong national and international reputation.

The review, which will take place in the 2014 summer term, will be led by Amanda Jenkins, Associate Dean at Camberwell, and will explore how UAL can best align its FAD courses, improve progression from FAD to undergraduate courses, and ensure that FAD is sustainable in the long-term. It will also look at whether there are addition routes for progression that should be added to the existing portfolio of courses.

Staff in FAD focused roles have been communicated with about the review and asked to contribute their views, and staff across the University will have the opportunity to feed in. Further information will be available shortly and updates will be posted on My Arts at every stage of the process.

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

The post David Toop: Offering Rites at Central Saint Martins appeared first on Central Saint Martins: News.

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.”

The post Fashion can be so much more says the Craft of Use project appeared first on LCF News.

Alumnus Shezad Dawood Presents Solo Exhibition

Shezad Dawood: Towards the Possible Film, 2014 © Parasol unit. Photo: Nicola Pomery Shezad Dawood: Towards the Possible Film, 2014 © Parasol unit. Photo: Nicola Pomery Shezad Dawood: Towards the Possible Film, 2014 © Parasol unit. Photo: Nicola Pomery

Shezad Dawood, who graduated from BA Fine Art at Central Saint Martins in 1997, is screening his new film as part of a solo show in London.

Shezad Dawood: Towards the Possible Film exhibition is made up of light sculptures, an installation of large-scale paintings on textile, and two films. Informed by extensive travels and research, Dawood shows a deep desire to encourage communication between different cultures and people. His films feature extraordinary episodes and narratives, in which seemingly ‘otherworldly’ figures are often the protagonists.

Morocco, Masonry and Mysticism

Shezad Dawood: Towards the Possible Film (production still), 2014. Commissioned by Film and Video Umbrella, Delfina Foundation and in association with Parasol unit foundation for contemporary art Shezad Dawood: Towards the Possible Film (production still), 2014. Commissioned by Film and Video Umbrella, Delfina Foundation and in association with Parasol unit foundation for contemporary art Shezad Dawood: Towards the Possible Film (production still), 2014. Commissioned by Film and Video Umbrella, Delfina Foundation and in association with Parasol unit foundation for contemporary art Shezad Dawood: Mên-an-Tol, 2013. Acrylic on vintage textile, 200 x 274 cm. Courtesy Paradise Row, London Shezad Dawood: A Mystery Play, (production still), 2010. Super 16 mm transferred to HD, 15 minutes. Commissioned by Plug In ICA, Winnipeg. Courtesy of LUX, London.

‘Towards the Possible Film’ (2014), which premiers at the exhibition, was shot at Legzira beach in Sidi Ifni, Morocco. It is evidently inspired by the many wars fought in the 1950s and ’60s between Spain, Morocco and independent Saharan tribes. In contrast, the film ‘A Mystery Play’ (2010) draws on Masonic rituals and Winnipeg’s history of burlesque and performance.

Dawood’s light sculpture The Black Sun’ (2010) is an ultra-daylight, white-neon circle. It is concerned with the mystical transformation of the self, as represented by the eclipse and the notion of the dark night of the soul. Also featured are his large-scale paintings, created on textiles stitched during the 1970s by women in Pakistan.

The exhibition runs until 25 May 2014 at Parasol unit foundation for contemporary art. Admission is free. On Thursday 24 April, Dawood will be in conversation with writer and critic Oliver Basciano.

More information:
BA Fine Art
Shezad Dawood: Towards the Possible Film exhibition
Talk by Shezad Dawood on 24 April 2014

Towards the Possible Film (production still, 2014) commissioned by Film and Video Umbrella, Delfina Foundation and in association with Parasol unit foundation for contemporary art. Mên-an-Tol (2013) courtesy Paradise Row, London. A Mystery Play (production still, 2010) commissioned by Plug In ICA, Winnipeg, courtesy of LUX, London. Event images (2014) copyright Parasol unit, photos Nicola Pomery.

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Call for Proposals: Designs on e-Learning 2014: Forging Creative Connections

CLTAD, in partnership with Penn State University, invite UAL staff to submit a proposal to present at the 2014 Designs on e-Learning international conference, September 17 – 18, San Marcos/Austin, Texas. Titled Forging Creative Connections, broad conference themes have been designed to open up the conversation wherever you find yourself along the technology path. Specific areas of connection could include those between:

•             Traditional & innovative approaches

•             Students & employers

•             Open educational resources & the curriculum

•             Staff & students

•             Formal & informal learning

As digital technologies continue to evolve and transform the pedagogic landscape, we face exciting and innovative possibilities for the future of education.

The conference will explore the impact of these transformations on our teaching practices and question how we can maximize their potential for improving student learning. This is an opportunity to collectively generate ideas, tackle problems, and share best practices in the arts, design and communication areas. The format of the conference includes panel discussions, presentations, work in progress papers and keynote speakers.

Deadline for proposals: 17:00 EST April 30th 2014

For full details visit the Designs on e-learning website

Questions: Claudia Roeschmann, cr29@txstate.edu

Alumni Celebrate Emerging Talent

GUESTS

Alumni, staff and students from across UAL’s six Colleges were invited to an exclusive event at SPACE Studios to celebrate some of the outstanding fine art work emerging from our 2013 graduates, which have been showcased at this year’s Future Map exhibition.

The event was organised by Development and Alumni Relations, hosted by SPACE Studios and supported by sponsors Winsor & Newton, Liquitex and Conté a Paris.

WORK

Guests were treated to a private view of Future Map and had the chance to meet some of this years exhibitors. The lucky attendees also enjoyed a drinks and food reception, music and they even got to make some of their own art on the night! (Although, unfortunately, none of the newly created artworks are likely to make next year’s Future Map.)

Sponsors of the event, Winsor & Newton, Liquitex and Conté a Paris were on hand to demonstrate and give away free art products to all guests.

PRODUCTS

UAL’s Vice-Chancellor, Nigel Carrington, and Director of Development and Alumni Relations, Karen Doyle, spoke about the importance of alumni events and how it’s never too late to get involved in the largest creative network in the world.

Sarah Clark (Head of UK Marketing) and Rebecca Pelly-Fry (Griffin Gallery Director) spoke about engaging with emerging artists and opportunities for alumni with the upcoming Griffin Art Prize 2014 (find out more here).

SPEECHES

Thanks to everyone who came along, we hope you enjoyed the evening. A huge thanks also to our sponsors, it was their support that enabled us to hold this event for our community.

All photos from the evening can be found on the UAL Alumni Association Facebook page.

For more information on the UAL’s Alumni Association, please visit our website.

GUESTS2

CCW Postgraduate Mentoring Programme – mentors required

To Use - CCW PG Mentoring Programme_web graphic_2CCW are pleased to announce the opening of the CCW Postgraduate Mentoring Programme 2014. This programme aims to encourage and support CCW students and graduates to focus on research plans and formulate applications for potential postgraduate and PhD study. The programme aims to support current UAL students within Camberwell, Chelsea and Wimbledon Colleges of Arts (CCW) in years two and three of their BA courses, as well as postgraduate students and alumni, to develop their postgraduate and research plans.

The mentors will be drawn from a pool of experienced staff from within UAL CCW who can provide encouragement and support to mentees to make more informed choices and decisions. We are looking for staff who would be interested in mentoring on this programme – please go to the link provided for more information and an application form to register your interest by 30th May: CCW PG Mentoring Programme – open for applications

SEE (Student Enterprise and Employability) are supporting CCW to manage this brand new programme.

For full information please go to CCW PG Mentoring Programme on the SEE website.