If you want to apply for an AA2A placement, there still are a few application deadlines left. University of Sunderland (Fri.28th) and you still have the weekend (deadline 30th) to put an application together for Gloucestershire College, Chelmsford College, Yorkshire Coast College, Harrogate School of Arts (applications through Hull), Hull School of Art and Design (including their first placement for a Musician). Hereford College of Arts deadline is on 1st October.
I have just found out that my work has been selected for the Matt Roberts Salon Art Prize 2012, very exciting news! I'm not sure which print has been chosen but it will be one of 3 spider photo-etchings I sent in, I'll find out more next week.
Studioless and hungry. Will ‘art’ for money…
Graduation came and reality hit with a bump. After the loss of my beautiful university studio, the temptation to white wall my bedroom and sniff some turps for my studio fix grows every day.
Not having a space to draw and think and sleep (ssh) and grow is a right royal pain. It’s harder to generate ideas in a shared flat, where the thought processes are drowned out by Green Day and the fire alarm bleeping in the distance. Although myself and my collaborative partner did manage to put together an application for lots of free money. The rejection letter came through the door today… I will start a collection.
But it’s not all doom and gloom. Although I am still darning my socks and balancing 3 jobs with council tax, I had the (rather simple) epiphany of “Things only happen if you make them!” So, a year from now, I will have been/going to Iceland for a month residency, and I will have a studio and a two-page artist CV!
So a message to newly appointed AA2A residents; Congratulations, and LOVE YOUR STUDIO. It brings light and joy and hope. (Even if it just seems like a white wall or two and some mouldy coffee cups). And LOVE TO BLOG! Its nice to vent and muster, knowing you can recall it a year after and muse on your ponderings…
I’m Charlie by the way… AA2A Student rep of the year 2012 and general loiterer.
Hi AA2A artists and fans,
Please can you help us spread the word about AA2A, whether you've been on the scheme and would recommend it to others or if you might apply yourself:
We now have application deadlines for all our 33 AA2A host institutions. To get all the information in one page go to our web advert
The AA2A project offers artists & designer makers the opportunity to undertake a period of research or realise a project using art college facilities eg. workshops, IT facilities, lending library, & lecture programme. AA2A schemes aim to benefit students and Colleges through their interaction with practising artists.
FOR FULL ELIGIBILITY CRITERIA AND DETAILS OF HOW TO APPLY aa2a.org/apply
Access is free, for at least 100 hours, between Oct 2012 and April 2013 and a materials/travel grant of £220 is usually available.
Closing dates for applications vary but all are in September 2012.
Applicants must have at least one years professional practice and should be able to work with minimal technical support.
Artists on AA2A schemes run from 2009 to 2010 or before can now reapply.
To see current AA2A artists' work go to http:/
AA2A particularly welcomes applications from applicants with disabilities, from culturally diverse backgrounds and non-graduates.
APPLICATION PACKS ARE ONLY AVAILABLE DIRECTLY FROM THE COLLEGES TAKING PART
If you'd like to join the mailing list email firstname.lastname@example.org
Are you in the area tomorrow (Tuesday 26th June) 5.30pm? If so why not come along to the opening of our exhibition at Markeaton Street (ground floor), we would love to meet you, talk about our work and the AA2A programme. Hope to see you there.
I thought this may be of interest to anyone who has been following my progress online. Over at MMU, myself and the other AA2A's are working towards our end of residency group exhibition at the university this September/October. Each of us were required to submit a proposal/statement outlining our thoughts and ideas for the upcoming show..
An exploration of the obese female body with a focus on mass, weight and disproportionate form through mark making. My project has been focused on the creation of artificial forms with indeterminate sex, species or context through collage, drawing & printmaking.
I have selected an image and have sought to visualize this 2D image as a tangible 3D form through a series of individual frames within a 360° rotation. I am looking to exhibit a series of A2 etchings mounted directly onto a wall and placed side by side horizontally.
The prints are at the picture framers and my artist's statement is written. We meet at Uni on Friday to begin hanging work for our exhibition. Very excited, nervous as well, but that's just me!
Once I know the exact time and date of our preview I can let you know, and if you are in the area do pop in and say hello.
Anyway here is a precis for you of the final chapter in this first series...
Six individual weather-beaten statues of the same female are situated within the rose gardens at Hopton Hall in Derbyshire. There is no specific history behind them but to me they symbolise the changes my friend Tracy's body has gone through, as a result of six sessions of chemotherapy.
The text I have chosen to use is a poem written by her as she was undergoing her treatment.
Hi AA2A artists,
2011-12 Artists - you should have received emails from us about the 'AA2A Artists Evaluation' Please could you contact us if you have not received this: email@example.com
We've had a good response so far, so to all those artists who've completed it; thankyou very much! We really appreciate your feedback about the scheme and your experience, it genuinely makes a difference to how we run the scheme in future. If you have yet to complete your evaluation please can you do so as soon as possible.
Tozzy Bridger AA2A placement at Solent University
Tozzy Bridger has been working at Solent University on an AA2A placement from February – June 2012. Artists Access 2 Art collages is a national scheme placing working artists into art collages to work alongside students on their own projects.
Tozzy’s project has looked at oak trees, in particular the history and cultural references as well as the natural history aspect. Tozzy has also used the time to expand her practise into the use of digital printmaking. Using the University’s large format printer Tozzy has experimented with combining digital print over laid with traditional methods such as drypoints, lino cuts and screenprints as well as using simple collage and emboss techniques.
Tozzy is showing three prints made during her time representing different aspects of the oak tree. “Quercus robur” introduces the oak using layers of imagery from vintage natural history books, in particular Sylvia Brittanica by J. G. Strutt. Some of the text layers are actual pages collaged onto the print rewarding the attentive viewer. The print is finished with beautiful Jay’s feathers, a bird known for it’s connection with oak trees, responsible for burying acorns and seeding new trees.
“Oak Butterflies” looks at the different species of butterfly that live and lay their eggs on oak trees, the new leaves providing food for caterpillars. The imagery used to make the butterflies, however, refers to the oak’s place in our culture for instance it’s popularity in pub names, The Royal Oak being the third most common pub name in England. The print also brings in imagery from signage in the New Forest.
The final print “History Oak” brings in memorable historical facts that link the tree to English history and folklore. The print shows Tozzy working in collaboration with the group of special needs adults she teaches for the community arts group Sculpt-it (www.sculptit.co.uk) as some of the leaves used are drawings made by the group. The linocut has a stylised feel of the 1930’s generation of English artists who returned to the English landscape and motifs such as oaks to make their contemporary artworks.
The work overall is a celebration of the oak tree and it’s enduring place in English culture. The imagery works on the ideas of layers, layers of information and history as well as actual layers as the print methods are combined. The prints are presented as if archive documents, to visually collate the culture of the oak tree.
The project was funded by The Arts Council.
I am spending the bank holiday sifting through and reviewing the many prints and design ideas I have made during my time at Uclan and somewhat belatedly beginning the process of uploading images onto the website. Images posted thus far were made early on when I was getting to grips with unfamiliar printing processes and media.
More images will be posted over the coming days showing further devlopments. Our AA2A exhibition at Uclan is during September which gives me the summer to resolve and construct finished pieces, to be photographed after the show.
My intention had been to focus on screen printing until I discovered it was possble to laser etch wood and rubber printing blocks. I was initally drawn to this process because of the wonderfully tactile nature of the blocks themselves and the way in which varyings degrees of hardness in the wood etch down to different levels revealing the grain line in the blocks themselves and in the print process.
Hand printing the blocks with oil based colours mixed from first priciples (dry pigments, copper plate oil and much elbow grease) let me take control over the relationship between colours and their varying degress of transparency/opacity. I think it was at this late point I felt I was starting to take ownership of the processes and techniques and was beginning to immerse myself in making work which had a purpose in life....more about ideas and creative image making. And discovering a natural link between digital and first hand making.
To reintroduce a greater degree of surafce texture using stitch and construction techniques into print is my next challenge although I have been having issues about how to do this without it being simply stitch for stitched sake.
And as an guilty aside the knowledge that I havent really found a way of integrating work made on my digital sewing machine without the results looking industrial and contrived. Thanks to our always resourceful and ever helpful senior technician (Katherine Owen) who has an amazing knowledge of all things related to digital textile and much more I have been encouraged to try a variety of ways of working into the prints which will forge a meaningful relationship between the flat printed image and areas of stitch. Watch this space for further developments.