Archive for the ‘BA Sculpture’ category

The Creative Outlet

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20 Oct – 23 Dec 2014
09:00 to 20:00

The Creative Outlet is an annual showcase of exciting emerging and established talent, selling unique seasonal gift ideas – ranging from innovative jewellery design to contemporary interior products.

The original works on display – designed and produced by University of the Arts London students and alumni – can all be bought directly from the exhibitors, through their online shops, and at our festive pop-up shop on 4 December, where you can meet the artists and designers, and buy their work in person.

Exhibitors: Alex Burgess, Amanda Tong, Anshu Hu, Augusta Akerman, Camilla Brueton, Celia Dowson, Charlotte Day, David Bennett, Edyta Slabonska, Emi Dixon, Emily Carter, Emma Alington, Evdokia Savva, Finchittida Finch, Gaurab Thakali, Jungeun Han, Kolin and William, Nao Creative, Observatory Place, Reiko Kaneko, Richard McDonald, Rob Halhead-Baker, Robbie Porter, Rolfe&Wills, Sarah ‘Kenikie’ Palmer, Soo Kim, Sylvia Moritz and YU Square.

Fledglings: UAL Design Graduates

 

Fledglings is one of the freshest and most exciting events in designjunction 2014. Showcasing the work of a selection of graduates from London’s most creative design courses (BA 3D Design at Camberwell College of Arts, MA Design: Ceramics, Furniture and Jewellery at Central Saint Martins and BA Sculpture at Wimbledon College of Arts), the Fledglings stand presents these graduates as budding design professionals.

Works ranging across the spectrum of design will be showcased in this vibrant and engaging display. Products that are ready to be taken to the market will be seen alongside more experimental approaches. These include Katharina Gross’s wax made furniture and Dunia Tigris’s Lone Diner project that uses marquetry juxtaposed with construction grade
materials.

Deceptively simple design coupled with wit, imagination and craft all feature in the Fledglings’ work. Si Taylor makes exquisite bespoke bicycle-inspired furniture, from steel bicycle tubing and saddle leather. His Randonneur Chair will be shown alongside Sophia Mepham’s Equilibrium, a well-crafted high-end wooden bench made out of oak and meranti that eases into the form of the human body when you sit on it.

Many of the graduates have already gained media interest, including Gigi Barker (9191 Studio), who makes skin-like furniture that mimics roles of fat. Meanwhile designers and makers Happenstance Workshop who will be showing their SACK System are currently in talks with an online retailer to stock their work.

Designjunction is the most important global meeting point of the London Design Festival and a selection of the participants work in Fledglings relates back to their homelands. Ana Jiménez Palomar’s wooden furniture is made from extracting and analysing the traditional extravagant Mexican mask culture, while Yoshika Kobayashi’s sophisticated designs draw on her Japanese heritage.

Fledglings:
Gigi Barker, Erika Braccini, Katharina Gross, Jungeun Han, Ana Jiménez Palomar, Yoshika Kobayashi, Rie Machii, Rhian Malin, Sophia Mepham, , Evodokia Savva, Si Taylor, Dunia Tigris, Amanda Tong, Jordan Watson.

Designjunction 2014, 18-21 September.

Camberwell College is star of fashion shoot for Lurve Magazine

Cover of Lurve Magazine Issue 08 Spring/Summer 2014 with model Adwoa Aboah.

Cover of Lurve Magazine Issue 08 Spring/Summer 2014 with model Adwoa Aboah.

Camberwell College of Arts was featured in luxury fashion magazine Lurve, published this month, following a shoot which took place at the college in the spring term.  While the clothes and model, Adwoa Aboah, took centre stage, the college’s spaces and studios also had a starring role.  The spread features everywhere from the metalwork to the letterpress studios, the kiln room, corridors and studios.  Also featured is work by Camberwell students William Costelloe and Olga Lomaka from BA Painting and Charlotte Campbell from BA Sculpture.

The fashion spread was shot by Magnum photographer Olivia Arthur, well known for her incisive documentary work in Saudi Arabia and India.  Using film, this was her first fashion shoot.

Below are the photos from issue 08 of the magazine, which is available to buy in the UK from Claire de Rouen, Artwords bookstore and Wardour News.

Fashion spread shot at Camberwell College of Arts for Lurve Magazine Issue 08, Spring/Summer 2014.

Fashion spread shot at Camberwell College of Arts for Lurve Magazine Issue 08, Spring/Summer 2014.

 

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Find out more about Lurve Magazine on their website.

Find out more about studying at Camberwell on our course pages.

Degree Show – Prize Winners 2014

 

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Rosa Nussbaum, Rebecca Burrow, Georgia Dennison, Julian Buchan, Peter Bellamy

Landmark Prize

The first prizes to be awarded were the Landmark Prizes presented by Hazel Merlino from Landmark plc.

Shortlists were created by Course Leaders in each of the three Fine Art pathways, select on student ability, performance and improvement. Landmark has given this award for the past 7 years, alongside offering a donation towards the Fine Art catalogue, in which they are credited.

First Prize was awarded to Peter Bellamy, BA Fine Art: Print & Time Based Media.

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Hazel Merlino (Landmark) & Peter Bellamy

Joint second prize was awarded to Georgia Sowerby, BA Fine Art: PaintingNaya Eleftheriou BA Fine Art: Sculpture.

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Hazel Merlino (Landmark) & Georgia Sowerby

Prunella Clough Prize 

The Prunella Clough Prize was awarded by Wimbledon College of Arts, Dean, Simon Betts, to First year BA Fine Art: Painting, Philippine Boulay and Second year BA Fine Art: Painting, Mary Furniss.

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Flat Time House Graduate Award 

The MFI Graduate Award is presented by Flat Time House, the former home and studio of the artist John Latham. It is awarded each year to selected new graduates with the aim of supporting their development as artists. The awardees form a discussion and study group, the MFI group, which is based in Flat Time House in Peckham.

In addition to the discussion group, MFI group have the opportunity to interact with the public programme at Flat Time House and to propose and stage events.

The Flat Time House Graduate Award was awarded by John Hill to BA Fine Art: Print & Time Based Media, Rosa Nussbaum and BA Fine Art: Sculpture, Rebecca Burrow.

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Rebecca Burrow, 2014

Lux Prize for Moving Image

The Lux Prize for Moving Image was awarded by BA Fine Art: Print & Time Based Media Pathway Leader, Richard Layzell and BA Fine Art Programme Director, Lois Rowe to BA Fine Art: Print & Time Based MediaJulian Buchan.

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Julian Buchan, 2014 (https://vimeo.com/julianbuchan)

Retreat Prize

The Retreat Prize was awarded by Michael Whitby to BA Fine Art: Sculpture, Georgia Dennison.

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Georgia Dennison, 2014

The Wandle Studio Prize

The Wandle Studio Prize was awarded by Wimbledon College of Arts, Dean, Simon Betts, to BA Fine Art: Print & Time Based Media, Rosa Nussbaum.

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Rosa Nussbaum, Rosa for America, 2014

Rosa Nussbaum, Rosa for America, 2014

 

A huge congratulations to all of our Prize Winners and all of our third year students. The very best of wishes for the future!

The post Degree Show – Prize Winners 2014 appeared first on Wimbledon College of Arts Blog.

Hal Foster, art critic, to speak at Camberwell College of Arts.

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Hal Foster, art critic and professor at Princeton University in the United States, has joined the undergraduate fine art department at Camberwell College of Arts as a practitioner in residence.  He will give a talk at Camberwell’s Wilson Road lecture theatre next Tuesday, 10 June at 6:30pm, on the subject of “How to survive civilization or what Dada can still teach us”.

One of the leading voices in post-modern art criticism and critical art history, Foster is the author of numerous acclaimed theory books, including Compulsive Beauty, Return of the Real, Prosthetic Gods, and The Art-Architecture Complex. A fellow of the American Academy of Arts and Sciences, his contributions to contemporary cultural debates span over 30 years of publishing. He is currently a regular contributor to London Review of Books and editor of MIT Press’s October journal.

Over the coming year, Foster will play a key role in Camberwell College’s curriculum, collaborating directly with students through lectures, seminars, workshops and studio critiques. Foster is one of 42 creative leaders who has joined University of the Arts London, to offer insight to students across all the University’s disciplines, from design, fashion and media to performance, fine art and conservation. They will  give students hands-on support and advice as they develop their practice and build their career skills.

Hal Foster, via Wikipedia.

Hal Foster, via Wikipedia.

Of Foster’s appointment, the painter and fine art programme director Daniel Sturgis, said, “Both students and staff are absolutely delighted to be working with Hal Foster over the coming year.  His knowledge and scholarship is exemplary and to have a leading American academic working with us for the year is a unique honour. Foster’s appointment will complement and enhance our contextual studies delivery, which focuses on the way that “ideas” are held in the making process and how both art historical reflection and the contemporary world inhabit today’s artworks.”

Foster’s talk is free and open to everyone, but booking is essential.

To secure your place, please email l.oyewo@camberwell.arts.ac.uk

The ‘magical experience’ of Camberwell’s Darkrooms

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We talked to Camberwell Technician and CSM MA Fine Art graduate John Whapham about Camberwell’s Open House event and The Darkroom Experience Workshop. John’s passion for teaching and photography drove him to become part of the photography team at Camberwell over 10 years ago. He believes that Camberwell’s eclectic fine art approach to photography encourages students to think about what it means to take photographs within a fine art context, as opposed to only fulfilling the technical and commercial bracket which you may usually expect.

CCA: What do you enjoy about the Open House event at Camberwell?

JW: One of the things that I like about the Open House event and why we call it ‘The Darkroom Experience’ is that, particularly with young people, there is a yearning to understand how images are generated and you can only see that in its organic form through a chemical substance experience, such as the dark room.

For instance, I remember one young girl taking part in the dark room workshop last year; she kept using the word ‘magic’ when she saw the image going through the developer and I can’t forget that because it is a bit like alchemy and to see and experience that it’s incredible.

Exif_JPEG_PICTURE

CCA: Why do you think the event is important?

JW: People in their twenties or even younger, don’t have a memory of analogue photography and they are the ones who look particularly interested in seeing how things originated. It’s almost like a ‘revolution’ as if they are rejecting the massive purchasing of the digital environment.  When they see this primitive side of photography, they feel as if they are put in charge and are completely responsible for the outcomes and mistakes.  Sometimes the mistakes are inspiring and with the digital approach perhaps you don’t see that.

I’m very excited about the future for analogue, it’s changed and we shouldn’t be using the word photography all the time when we associate it with the dark room. Some of the photography pioneers talk about pictures and printmaking and not using the word photography as we use now because it’s got a lot to do with printmaking, painting and sculpture. In the darkroom, a photogram exists on its own as a unique object. We should be looking at how exhilarating it’s to use light and chemistry to generate images.

blog NSPL9022

CCA: Would you recommend people to come to the event?

JW: Yes, the Dark Room Experience is immediate and easy, people can take home something tangible that they just made. Every year the workshops have grown; the emphasis now is that people who visit would leave with something real and palpable next to an unforgettable experience. At the end of the Open House event, you may be very exhausted but you feel that you have made many people very happy. I feel sorry for people who don’t ever get this experience of photography in its pure and primitive form, who will grow up never really understanding how these images that surround us all the time are generated. The Dark Room allows you to see this.

Currently students at Camberwell have access to the following  photographic facilities: Digital Darkroom, Photographic Studio, Multi Format Fibre Darkroom, 35mm B&W Resin Darkroom, Specialist Print Darkroom, B&W Film Processing.

 

The ‘magical experience’ of Camberwell’s Darkrooms

blogNSPL9291

We talked to Camberwell Technician and CSM MA Fine Art graduate John Whapman about Camberwell’s Open House event and The Darkroom Experience Workshop. John’s passion for teaching and photography drove him to become part of the photography team at Camberwell over 10 years ago. He believes that Camberwell’s eclectic fine art approach to photography encourages students to think about what it means to take photographs within a fine art context, as opposed to only fulfilling the technical and commercial bracket which you may usually expect.

CCA: What do you enjoy about the Open House event at Camberwell?

JW: One of the things that I like about the Open House event and why we call it ‘The Darkroom Experience’ is that, particularly with young people, there is a yearning to understand how images are generated and you can only see that in its organic form through a chemical substance experience, such as the dark room.

For instance, I remember one young girl taking part in the dark room workshop last year; she kept using the word ‘magic’ when she saw the image going through the developer and I can’t forget that because it is a bit like alchemy and to see and experience that it’s incredible.

Exif_JPEG_PICTURE

CCA: Why do you think the event is important?

JW: People in their twenties or even younger, don’t have a memory of analogue photography and they are the ones who look particularly interested in seeing how things originated. It’s almost like a ‘revolution’ as if they are rejecting the massive purchasing of the digital environment.  When they see this primitive side of photography, they feel as if they are put in charge and are completely responsible for the outcomes and mistakes.  Sometimes the mistakes are inspiring and with the digital approach perhaps you don’t see that.

I’m very excited about the future for analogue, it’s changed and we shouldn’t be using the word photography all the time when we associate it with the dark room. Some of the photography pioneers talk about pictures and printmaking and not using the word photography as we use now because it’s got a lot to do with printmaking, painting and sculpture. In the darkroom, a photogram exists on its own as a unique object. We should be looking at how exhilarating it’s to use light and chemistry to generate images.

blog NSPL9022

CCA: Would you recommend people to come to the event?

JW: Yes, the Dark Room Experience is immediate and easy, people can take home something tangible that they just made. Every year the workshops have grown; the emphasis now is that people who visit would leave with something real and palpable next to an unforgettable experience. At the end of the Open House event, you may be very exhausted but you feel that you have made many people very happy. I feel sorry for people who don’t ever get this experience of photography in its pure and primitive form, who will grow up never really understanding how these images that surround us all the time are generated. The Dark Room allows you to see how the images on your phone are created.’

Currently students at Camberwell have access to the following  darkroom facilities: Digital Darkroom, Photographic Studio, Multi Format Fibre Darkroom, 35mm B&W Resin Darkroom, Specialist Print Darkroom, B&W Film Processing.

 

The ‘magical experience’ of Camberwell’s Darkrooms

blogNSPL9291

We talked to Camberwell Technician and CSM MA Fine Art graduate John Whapman about Camberwell’s Open House event and The Darkroom Experience Workshop. John’s passion for teaching and photography drove him to become part of the photography team at Camberwell over 10 years ago. He believes that Camberwell’s eclectic fine art approach to photography encourages students to think about what it means to take photographs within a fine art context, as opposed to only fulfilling the technical and commercial bracket which you may usually expect.

CCA: What do you enjoy about the Open House event at Camberwell?

JW: One of the things that I like about the Open House event and why we call it ‘The Darkroom Experience’ is that, particularly with young people, there is a yearning to understand how images are generated and you can only see that in its organic form through a chemical substance experience, such as the dark room.

For instance, I remember one young girl taking part in the dark room workshop last year; she kept using the word ‘magic’ when she saw the image going through the developer and I can’t forget that because it is a bit like alchemy and to see and experience that it’s incredible.

Exif_JPEG_PICTURE

CCA: Why do you think the event is important?

JW: People in their twenties or even younger, don’t have a memory of analogue photography and they are the ones who look particularly interested in seeing how things originated. It’s almost like a ‘revolution’ as if they are rejecting the massive purchasing of the digital environment.  When they see this primitive side of photography, they feel as if they are put in charge and are completely responsible for the outcomes and mistakes.  Sometimes the mistakes are inspiring and with the digital approach perhaps you don’t see that.

I’m very excited about the future for analogue, it’s changed and we shouldn’t be using the word photography all the time when we associate it with the dark room. Some of the photography pioneers talk about pictures and printmaking and not using the word photography as we use now because it’s got a lot to do with printmaking, painting and sculpture. In the darkroom, a photogram exists on its own as a unique object. We should be looking at how exhilarating it’s to use light and chemistry to generate images.

blog NSPL9022

CCA: Would you recommend people to come to the event?

JW: Yes, the Dark Room Experience is immediate and easy, people can take home something tangible that they just made. Every year the workshops have grown; the emphasis now is that people who visit would leave with something real and palpable next to an unforgettable experience. At the end of the Open House event, you may be very exhausted but you feel that you have made many people very happy. I feel sorry for people who don’t ever get this experience of photography in its pure and primitive form, who will grow up never really understanding how these images that surround us all the time are generated. The Dark Room allows you to see how the images on your phone are created.’

Currently students at Camberwell have access to the following  darkroom facilities: Digital Darkroom, Photographic Studio, Multi Format Fibre Darkroom, 35mm B&W Resin Darkroom, Specialist Print Darkroom, B&W Film Processing.

 

The ‘magical experience’ of Camberwell’s Darkrooms

blogNSPL9291

We talked to Camberwell Technician and CSM MA Fine Art graduate John Whapman about Camberwell’s Open House event and The Darkroom Experience Workshop. John’s passion for teaching and photography drove him to become part of the photography team at Camberwell over 10 years ago. He believes that Camberwell’s eclectic fine art approach to photography encourages students to think about what it means to take photographs within a fine art context, as opposed to only fulfilling the technical and commercial bracket which you may usually expect.

CCA: What do you enjoy about the Open House event at Camberwell?

JW: One of the things that I like about the Open House event and why we call it ‘The Darkroom Experience’ is that, particularly with young people, there is a yearning to understand how images are generated and you can only see that in its organic form through a chemical substance experience, such as the dark room.

For instance, I remember one young girl taking part in the dark room workshop last year; she kept using the word ‘magic’ when she saw the image going through the developer and I can’t forget that because it is a bit like alchemy and to see and experience that it’s incredible.

Exif_JPEG_PICTURE

CCA: Why do you think the event is important?

JW: People in their twenties or even younger, don’t have a memory of analogue photography and they are the ones who look particularly interested in seeing how things originated. It’s almost like a ‘revolution’ as if they are rejecting the massive purchasing of the digital environment.  When they see this primitive side of photography, they feel as if they are put in charge and are completely responsible for the outcomes and mistakes.  Sometimes the mistakes are inspiring and with the digital approach perhaps you don’t see that.

I’m very excited about the future for analogue, it’s changed and we shouldn’t be using the word photography all the time when we associate it with the dark room. Some of the photography pioneers talk about pictures and printmaking and not using the word photography as we use now because it’s got a lot to do with printmaking, painting and sculpture. In the darkroom, a photogram exists on its own as a unique object. We should be looking at how exhilarating it’s to use light and chemistry to generate images.

blog NSPL9022

CCA: Would you recommend people to come to the event?

JW: Yes, the Dark Room Experience is immediate and easy, people can take home something tangible that they just made. Every year the workshops have grown; the emphasis now is that people who visit would leave with something real and palpable next to an unforgettable experience. At the end of the Open House event, you may be very exhausted but you feel that you have made many people very happy. I feel sorry for people who don’t ever get this experience of photography in its pure and primitive form, who will grow up never really understanding how these images that surround us all the time are generated. The Dark Room allows you to see how the images on your phone are created.’

Currently students at Camberwell have access to the following  darkroom facilities: Digital Darkroom, Photographic Studio, Multi Format Fibre Darkroom, 35mm B&W Resin Darkroom, Specialist Print Darkroom, B&W Film Processing.

 

The ‘magical experience’ of Camberwell’s Darkrooms

blogNSPL9291

We talked to Camberwell Technician and CSM MA Fine Art graduate John Whapman about Camberwell’s Open House event and The Darkroom Experience Workshop. John’s passion for teaching and photography drove him to become part of the photography team at Camberwell over 10 years ago. He believes that Camberwell’s eclectic fine art approach to photography encourages students to think about what it means to take photographs within a fine art context, as opposed to only fulfilling the technical and commercial bracket which you may usually expect.

CCA: What do you enjoy about the Open House event at Camberwell?

JW: One of the things that I like about the Open House event and why we call it ‘The Darkroom Experience’ is that, particularly with young people, there is a yearning to understand how images are generated and you can only see that in its organic form through a chemical substance experience, such as the dark room.

For instance, I remember one young girl taking part in the dark room workshop last year; she kept using the word ‘magic’ when she saw the image going through the developer and I can’t forget that because it is a bit like alchemy and to see and experience that it’s incredible.

Exif_JPEG_PICTURE

CCA: Why do you think the event is important?

JW: People in their twenties or even younger, don’t have a memory of analogue photography and they are the ones who look particularly interested in seeing how things originated. It’s almost like a ‘revolution’ as if they are rejecting the massive purchasing of the digital environment.  When they see this primitive side of photography, they feel as if they are put in charge and are completely responsible for the outcomes and mistakes.  Sometimes the mistakes are inspiring and with the digital approach perhaps you don’t see that.

I’m very excited about the future for analogue, it’s changed and we shouldn’t be using the word photography all the time when we associate it with the dark room. Some of the photography pioneers talk about pictures and printmaking and not using the word photography as we use now because it’s got a lot to do with printmaking, painting and sculpture. In the darkroom, a photogram exists on its own as a unique object. We should be looking at how exhilarating it’s to use light and chemistry to generate images.

blog NSPL9022

CCA: Would you recommend people to come to the event?

JW: Yes, the Dark Room Experience is immediate and easy, people can take home something tangible that they just made. Every year the workshops have grown; the emphasis now is that people who visit would leave with something real and palpable next to an unforgettable experience. At the end of the Open House event, you may be very exhausted but you feel that you have made many people very happy. I feel sorry for people who don’t ever get this experience of photography in its pure and primitive form, who will grow up never really understanding how these images that surround us all the time are generated. The Dark Room allows you to see how the images on your phone are created.’

Currently students at Camberwell have access to the following  darkroom facilities: Digital Darkroom, Photographic Studio, Multi Format Fibre Darkroom, 35mm B&W Resin Darkroom, Specialist Print Darkroom, B&W Film Processing.