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Uclan AA2A'ers present to year 3 Fine Art students, 22nd March 2018

March 26, 2018 by Fiona Candy   Comments (0)

Following on from Hollie's recent blog post: 

Rika Jones, Benedict Rutherford, Shelley Burgoyne, Alexander de Vol, and I all had a great opportunity to meet a group of final year fine art students last week. We each spoke about our work, past and present, and answered questions. I conveyed the process involved in a recent museum commission. Ben spoke about his art practice and his involvement with The Birley Artists Studios in Preston. Rika offered up some great advice about undertaking an MA, for students curious to know more about continuing to postgraduate study. Alex described his previous profession in menswear design and manufacture, along with some of the reasons behind his decison to change direction and move into ceramics and craft.  Shelley Burgoyne is currently exhibiting her prints in the corridor close to the printmaking workshop in Victoria Building, at Uclan, and her very lively presentation took place there and in the printmaking studio, where she has been working. It was a productive and really interesting morning and the artists continued their discussions over lunch together in a nearby campus cafe. Lots of new ideas brewing ....   

It was an enjoyable and stimulating event. Many thanks to all involved. 

Testing out the completed installation: "Impossible Object No. 4 (Flying Lampadario)"

March 23, 2018 by Chris Meigh-Andrews   Comments (0)

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Today I have finally completed my flying lamp project. This morning I set it up in the Project Space at my studio in Cuckoo Farm. Happy with the way it has turned out. The final element to try out was the the drone sequence projection, and after several different ideas, decided the best option was to project the images in front of the sculpture. This created a shadow of the lamp and, best of all, the spinning rotors break the projection beam into the component colours of the video image! These colours also show up on the projection itself, which is a real bonus...I have posted some images on my web site (www.meigh-andrews.com) as well as on the AA2A site.

Receiving Advice - Artist Talks

March 22, 2018 by Hollie Burge   Comments (0)

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For the Fine Art BA(hons) at UCLan, we have an Employability Skills Module for the third year students which includes artist talks…

 The current AA2A artists at UCLan were invited to participate and give us an insight into their knowledge as practicing artists, as well as a talk about their own practices. The participating artists included:

 

Fiona Candy

Rika Jones

Benedict Rutherford

Alexander de Vol

Shelley Burgoyne

 

 Learning more about the artists’ practices was very interesting, especially seeing the diversity of each artist’s methods, matched up with the images of the works seen here on the AA2A website. It was amazing to hear the themes and tones of the works in more detail to gain a greater understanding of each of the participating artists.

 Another segment of the talks, which was especially relevant for new and emerging artists such as myself and fellow students, are the different pathways available to take post-graduation. This invaluable information included opportunities such as commission and collaborative works, residencies and studio rates, to setting up a studio and working in a parallel industry such as design or fashion. Gaining knowledge of the ‘real world’ of art, and the internal workings of a large industry makes the steps from graduation to practicing artist seem much less daunting.

 In the end, each artist, both established and emerging will find a different pathway which suits themselves, non of which are neither right or wrong. Nevertheless, it is reassuring to receive talks from the artists and know that amazing opportunities are there waiting for everyone who wants to take them.

 

 

An art writer is always learning - writers’ workshop with Louise Palfreyman writer-in-residence

March 22, 2018 by Rebecca Collins   Comments (0)

 

 

This week I took part in a weekly writers' workshop at the University of Wolverhampton run by AA2A writer-in-residence, Louise Palfreyman, who is currently based there.

One of my many loves, besides making art and drinking rhubarb gin, is writing about art. So I was keen to take part in this workshop to learn something from someone with experience with creative writing and to improve my skills as a reviewer of art. I wanted to gain valuable insight into what it might be like writing for a living. I already work freelance as an editor and book publishing project manager but I’m struggling to take advantage of my love of art and passion for writing to earn any money.

For the workshop, myself and a number of other students from the fine art department at Wolverhampton, met with Louise at the Wolverhampton Museum and Art Gallery. We were tasked by Louise to spend an hour looking at anything that sparked our interest in the gallery and consider what we might write about it. We were instructed to note down observations about anything that came to mind, however significant or otherwise, that might form part of a review.

Interestingly, the other students decided to consider the Diaspora Pavilion exhibition which is currently running at the gallery. I, however, took myself off to the Clangers, Bagpuss and Co. exhibition to consider my own take on what I might see there. I had seen the Diaspora Pavilion before, and also in Venice, so I quite fancied the challenge of coming up with an interesting angle for writing a review about Zippy and George and friends instead.

After the hour at the art gallery absorbing and thinking and making notes, we gathered together in a coffee shop to discuss our ideas and responses. The fascinating aspect of this part of the workshop was the amount of new ideas that came out of the brainstorming that took place, which Louise said mirrored a magazine or newspaper editorial meeting. We were able to feed off each other's thoughts and come up with some new and interesting ideas. We voiced fresh responses to what we had seen that we might not have come about in isolation and while still in the art gallery. Louise was able to tease out of us some thought-provoking angles that could be used in a review to give it that vital edge that can capture a reader's attention.

All of us, inspiring art writers, gained valuable insight during this workshop into important considerations that need to be made when writing a review of a piece of artwork or body of art, or an exhibition. These included the following: anything goes, within reason; a negative response is just as valid as a positive response so long as it can be intelligently justified; a review can be written with a particular audience in mind; an angle is vitally important and the quirkier, possibly the better; and concision is key.

So, with all the advice from Louise in mind, the group, including me, are all going to write a review which will hopefully be published on the Arts Foundry website which is run by Louise, which is a forum for allowing local people to voice their creative expression.

The main lesson I learnt from today is that the two most important qualities of an aspiring art writer is passion for art and the words in which to express it. If you have both, you are on to a winner.

 

 

Exhibitions listings of Lorraine Cooke and Roderick. K. Newlands.

March 14, 2018 by Lorraine Cooke   Comments (0)

LORRAINE COOKE MA- CV

Exhibitions:

2017 Hahnemule touring Print exhibition 2017, RedDot Art Consultancy, Art Space- 

         Cambridge, The New Cut- Halesworth, Nunn’s Yard-Norwich, Garage Gallery-

         Norwich, East of England, UK.

         Art in response to Music, European Capital of Culture Schools in action

         project. Paphos, Cyprus.  (Initiated and facilitated by Lorraine Cooke.)

2016 Bridging Culture, European Capital of Culture Schools in action project. Paphos

         Cyprus. (Initiated and facilitated by Lorraine Cooke.)

2015 Mural- Paphos Ancient and Modern, EuropeanCapital of Culture Schools in action

         project. Paphos, Cyprus. (Initiated and facilitated by Lorraine Cooke.)

         Women and Art, Technopolis Cultural Centre, Paphos, Cyprus.

         RCA Secret 15, Dyson Gallery, The Royal College of Art, London.

         Secret Dubai, in conjunction with Art Dubai and RCA Secret, United Arab Emirates.

2014  Inspired by Miro, Saatchi exhibition curated by Kat Henning, Saatchi online, internation collection.

        Small works exhibitiion, Rochester Contemporary Art Centre, (ROCO,) New York, USA.

        Stewarts Law RCA Secret 2014, The Dyson Gallery, The Royal College of Art, London.

2013  Alumni Summer Show, Northampton University, England.

2012 Open Show, Apocalypse Gallery, Nicosia, Cyprus.

2011 MA Fine Art Degree Show, Northampton University, Larnaca, Cyprus.

         Reactions,  CCA Gallery, Cyprus (Two person exhibition.)

2010 Winter Exhibition, CCA Gallery, Cyprus.

         Rebirth, Art1821, Norwich, England (curated by Lorraine Cooke.)

         Seductive perspectives, Art1821, Norwich, England (Two person exhibition.)

2009 A Winters Tale, Reunion gallery, Felixstowe, Suffolk, England.

         Christmas Unwrapped, Babylon Gallery, Ely, Cambridgeshire, England.

         Troika 8- Open International, Dragon Hall Museum, Norwich, England.

         RCA Secret 09, Gulbenkian gallery, The Royal College of Art, London.

         Norwich Print Fair, St. Margaret’s Art gallery, Norwich, England.

         Lorraine Cooke- A retrospective, Playhouse Theatre, Norwich, England. (solo exhibition.)

         AA2A Show, Mandells gallery, Norwich, England. (curated by Lorraine Cooke.)

         AA2A Show, Norwich University College of the Arts, Norwich, Norfolk, England (curated by

         Lorraine Cooke.)

         Winter Exhibition, The Norwich gallery, Norwich, Norfolk, England.

2008 Doric Arts Gallery, Holt, Norfolk, England.

2007 The Cut Open, New Cut Arts Gallery, Halesworth, Suffolk, England.

2006 Open Exhibition, The Halesworth Gallery, Suffolk, England (invited artist.)

         Five women, The Hobart gallery, Blickling Hall, Holkham, Norfolk, England.

         Land and Urban Scapes, Wembley Point, London, (Two- person exhibition.)

         2nd Open Competition Exhibition 06, Byard Art gallery, Cambridge, England.

2005 Winter Show, The Thin Cube gallery, Bylaugh Hall, Norfolk, England (invited artist.)

         Fringe 05, Bally galleries, the 7th Norfolk Fringe- Arts and Music festival, Norwich, England.

         Waterloo Summer Open, Waterloo Gallery, London.

         Inscape, The Assembly House, Norwich, England (solo exhibition.)

         Landscape revisited, The Priory, Haywards Heath, West Sussex, England (solo exhibition.)

         Prints 04/05 Artlink exchange gallery, Hull, Humberside, England.

2004 RCA Secret 04, Gulbenkian gallery, The Royal College of Art, London.

         Fringe 04 with Articulate, Bally galleries, Norwich, England, (curated by Articulate.)

         Articulate, The Assembly House, Norwich, England, (curated by Lorraine Cooke.)

         Art on the railings, St. Peter Mancroft Church, Norwich, England, (Founded by Articulate.)

         Royale Academy Summer Show, Fringe of East International, The Shed gallery, Norwich, UK.

2003 Degree Show, Norwich School of Art and Design, Norwich, England.

2002 Autumn Exhibition, Norwich School of Art and Design, Norwich, England, (solo exhibition.)

         Land Art, Warham Salt marsh, Norfolk, England (solo installation.)

         Six Go East, Oriental Arts Centre, Norwich, Norfolk, England.

         Synthetic, St. Margaret’s Art gallery, Norwich, Norfolk, England.

2001 Norwich School of Art and Design, Norwich, England (solo exhibition.)

2000 Liverpool John- Moores University, Liverpool, Merseyside, England (solo exhibition.)

1999 Foundation Art and Design Show, Norwich School of Art and Design, Norwich, England.

1998 Innovations, County Hall, Norwich, Norfolk, England.

Profile, Awards, Publications and Education:

2003- Present Professional artist.

2011- Graduated from Northampton University with an MA in Fine Art. www.northampton.ac.uk

2011- Award - Winner of the Bonarota Michaelangelo Award for a series of works produced in response to Cyprus. Awarded by Dr. Stass Paraskos.

2011- Gained an ASCENTIS Adult education teaching qualification. www.ascentis.co.uk

2010- Assistant Director and art consultant of ART1821 Gallery, Norwich, www.art1821.com

2009-2010- Student Mentor at Norwich University of the Arts.

2009- AA2A Artist of the Year 09 (Award by National University residency scheme.)

2009- Publication- AA2A, An interview with Lorraine Cooke, a-n magazine (May 2009 edition.)

2008-2009 AA2A resident artist at Norwich University College of the Arts.

2007- Publication- Drawing Workshop II, published by Dorling Kindersley.

2004- Shortlisted for the Babylon gallery award for an emerging artist.

2003-2004- Company Secretary and Company Director of Articulate artists syndicate

2003- Graduated from Norwich School of Art and Design with a BA (hons) in Fine Art. www.nua.ac.uk

1999- Gained BTec National Foundation Diploma in Art and Design. NUA. www.nua.ac.uk

1998- 1999- Studied at Hellesdon/ Taverham Sixth- form Centre. Norwich, UK.

1992- 1996- Hellesdon High School, Norwich, UK. www.hellesdon.net

RODERICK. K. NEWLANDS MA (RCA) - CV.

Exhibitions (all exhibitions are selected shows.)

2015 RCA Secret 15, Dyson Gallery, The Royal College of Art, London

2011 Romantic Cyprus, The University of Northampton Art Gallery, Northampton, England

         Reactions, CCA Gallery, Cyprus College of Art, Cyprus (Two- person exhibition)

         Winter Show, CCA Gallery, Cyprus College of Art, Cyprus.

2010 Seductive perspectives, Art1821, Norwich, Norfolk, England (Two person show)

2009 AA2A Show, Mandell’s gallery, Norwich, Norfolk, England (invited artist)

         RCA Secret 09, Gulbenkian gallery, The Royal College of Art, London

2006 RCA Secret 06, Gulbenkian gallery, The Royal College of Art, London

2005 Landscape 200, Norwich Castle Museum, Norwich, Norfolk, England

2004 RCA Secret 04, Gulbenkian gallery, The Royal College of Art, London

2003 RCA Secret 03, Gulbenkian gallery, The Royal College of Art, London

2000 Royal Academy Summer Show, (accepted) London

         FAB 4, Pickers gallery, Kingston, London

1998 FAB3, Pickers gallery, Kingston, London

1995 Annual Open, Norwich Castle Museum, Norwich, Norfolk, England

         Norwich Twenties, Gt. Yarmouth gallery, Gt. Yarmouth, Norfolk, England

1994 Annual Open, Norwich Castle Museum, Norwich, Norfolk, England

1990 Royal Academy Summer Show, The Royal Academy, London

1989 Portobello Open, London

1986 Tolly Cobbold, final exhibition of travelling show- *The Royal Academy of Arts, London.

1985 Tolly Cobbold, *Laing art gallery, Newcastle, *Cartwright Hall, Bradford, *Christchurch

        Mansion, Ipswich, *Fitzwilliam Museum, Cambridge, England

        Twin town exhibition, Rambouillet, France (invited artist)

1984 Norwich Twenties, Gt. Yarmouth gallery, Gt. Yarmouth, Norfolk, England (invited artist)

1983 Summer Show, Fine art Society gallery, Cork St, London

         Norwich Twenties, University of East Anglia Concourse gallery, Norfolk, (invited artist)

         Norwich Twenties, Gt. Yarmouth gallery, Gt. Yarmouth, Norfolk, England (invited artist)

1982 Eastern Arts Collection, Sudbury art gallery, Suffolk, England (Permanent collection)

1979 Rocksmoor gallery, Gloucestershire, England (Solo Show)

         Fellows Show, Cheltenham art gallery, Cheltenham, Gloucestershire, England

         Stroud Festival exhibition, George Room gallery, Gloucestershire, England

1978 MA Degree Show, The Royal College of Art, London

         Irritation, Riverside Studios, London

1977 Royal College Show, PLC gallery, London

         Northern Young Contemporaries, Walker gallery, Liverpool, Merseyside, England

         London Group Annual Show, Camden Arts Centre, London (invited artist)

         Stowells Trophy exhibition, The Royal Academy of Arts, London

1976 New 57 gallery, Edinburgh, Scotland.

         Cantebury Hall, London (Two person show)

1975 Royal Scottish Academy Summer exhibition, Royal Scottish Academy, Edinburgh, Scotland

         Edinburgh College of Art, Edinburgh, Scotland 

1974 Shed 50 gallery, St. Monans, Fife, Scotland 

         Royal Scottish Academy Summer exhibition, Royal Scottish Academy, Edinburgh, Scotland

         Festival exhibition, STV Gallery, Edinburgh, Scotland

         Aberdeen artists Association, Aberdeen art gallery, Aberdeen, Scotland

1973 Aberdeen artists Association, Aberdeen art gallery, Aberdeen, Scotland

1972 Aberdeen artists Association, Aberdeen art gallery, Aberdeen, Scotland

Awards

1980 Eastern Arts Council Major Award

1978- 79 Fellowship to Cheltenham College of Art (Fine Art)

1978 Imperial College purchase prize

1974 Royal Scottish Academy Carnegie travelling Scholarship

1974 Royal Scottish Academy Meyer Oppenheim prize (Annual exhibition award)

Collections

I have found a place to work

March 13, 2018 by Jayne Murray   Comments (0)

Now that I am technically competent at screen printing I began to look for somewhere to work in Wolverhampton (being a public artist). As I went to different areas, on my bike - no mean in feat in Wolverhampton! I began to use the subways under the ringroad as a way of staying safe from the traffic. As I did so I noticed three subterranean locations within traffic islands. The first really stood out - as it had a skate park in and hundreds of pairs of shoes in the trees. Interesting I thought. Then I found a less obvious place but with more space - Chapel Ash Island. Here a few people were making artworks in response to social issues. It is  a quite well manicured place, the crazy paving at odds with the stencil art on original tiles. This investment in the original design of the place juxtaposed with the current use as an 'underground' place where social critique is visualised made it seem very attractive to me as a place to work. People scuttled through the subways, hurrying through what was once a vision of the future. Having considered it for a while and having visited the marvellous archives at Wolverhampton to research it more I have decided to work in and around Chapel Ash Island for my residency. I am calling the piece of work 'Someone Else's Dream, which reflects the dream that was once the ring road, a legacy of someones vision that we live with, and calls to mind the other dreams that we live with that may not be our own, brexit, capitalism, and patriarchy, for example, and the other dreams that we do present through art. I am interested in how using trace to print on could work to express this, and how a mobility can be incorporated into the work.

The Elderly Panjabi Community

March 5, 2018 by Baljinder Kaur   Comments (0)

This week, I began collating references and material for a project that has been unofficially bubbling for a while, stemming from my fascination with the elderly panjabi community.

I've been fortunate to have interest from other artists, filmakers and photographers who wish to collabroate throughout this project.
Today I recieved the support of Narvir Singh, a filmaker from London, who often explores themes around diaspora and community in his own work.

We interviewed and filmed members of the elderly congregation at our local Gurudwara. The questions we asked were mostly about their childhood in India (or Africa), their experiences when migrating to the UK and the things that life had taught them. Most of them had come to England during the 1950's and 60's and although it was very interesting and heartfelt to hear of their hardships, I wanted more than just the surface level. And this was perhaps a struggle because of the language barrier. Although I am fluent in Panjabi, there are many words and concepts that I struggle to translate, mostly around existential and emotional health.

What I REALLY wanted to know, was when they were in those dark places, what helped them get through? How did they actually FEEL being bullied everyday for being the only brown kid in school?What was their light in the darkness? What gave them their sense of worth & purpose? Why is the Guru of value to them?
The atmosphere of being in a public space also had something to do with the types of responses, so I am currently trying to figure a way of approaching them in their homes, in more intimate spaces. 

The photographer and artist Navi Kaur, will be helping me to collect more this Wednesday. So in the meanwhile I'm going to re-assess and re-allign the purpose of this project. Yes I want to archive, yes I want to explore and yes I want to celebrate that golden and often forgotten, quietened generation, who never really had the opportunity to heal or be heard. But over-riding all that, visual expression, or any art-form is about connecting. And the most worthwhile form of connection for me, is that which brings light. Because that is what the Guru does for me. 

Going forwards, I hope to hear more about the timeless flints of light that bought them to where they are now, and their sense of worth that keeps getting them out of bed every morning, wanting to breathe, wanting to keep moving, despite it all. 

To be continued.

 

Heinrich

March 2, 2018 by Sayako Sugawara   Comments (0)

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Project ‘Heinrich’ (Working Title) takes two boxes of glass plates by an Austrian Alpine Photographer Heinrich Schildknecht (1874 Hamburg, Germany - 1959 Graz, Austria) as a starting point of the project.

 

The initial stage of the project studies the glass plates loaned from the family of the photographer using the darkroom facilities at my host AA2A University, Universities of Hertfordshire.

 

I am hoping that this process would reveal layers of marks and stories carried by the glass plates as well as the details of the images captured by Heinrich on the top of mountains around 1906 and determine the direction I would take with my project using this material.

 

        

Discussion with Fiona Candy

March 1, 2018 by Hollie Burge   Comments (0)

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Discussion with Fiona Candy

The meet-up with artist Fiona Candy started with a visit to a Fine Art student exhibition in PR1 gallery at the University, which was a great ice-breaker and talking point to start the interview. Here we discussed the works, and themes that are recently being explored within Fine Art, especially the presence of politically charged artworks.

After the exhibition, we went for a coffee, to start the interview – which turned into more of a discussion, which I feel we both benefited from. It is a useful experience to talk about your practice, as well as learn about another’s. As the student rep for the artists at UCLan, I was eager to learn more of Fiona’s work, and how an artist in the world outside of education is developing their practice.

Here’s an extract from our Q and A:

Q.1. from Hollie (HB):  I took a section of your artist statement from the AA2A website, where you mention working with “less conscious modes of perception”. What led you to explore these themes?

A. Fiona (FC): one way to explain is to tell you about a series of pieces that came about following a synchronistic encounter with a bountiful oak tree. For various reasons I was consciously looking for new directions and I had a hunch, that engaging with the phenomenon and metaphor of growth, would open up positive, intuitive responses.  I decided to collect and plant around 300 acorns, care for them over the winter months, and I undertook further research as topics arose. By spring 2016 I hade made a series of new pieces where the oak seedlings literally gave life to the works. 

I consider that my practice has transformed and I’ve been able to connect with a new network of like- minded people. So my hunch was a good one - as I’ve grown too.  

Here’s a link to see some initial outcomes of that project: http://www.fionacandy.uk/blog/?cat=11

Q.2. HB: The photographs of Morecambe Bay from the project Genius Loci are interesting, how did this project come about?

A. FC: I’ve always had an interest in environmental qualities that are sensed:  felt, heard, smelled - as well as seen, and how they impact on the psyche, memory and mood.  In these moments of awareness, I’m not sure where my experiences are located: are they emanating from within me, or are they out in the world?  This entanglement of perception and consciousness, interactivity of subject and object, intrigues and always raises questions for me, about how we perceive, make sense of and describe the world. In other parts of the world, India for instance, people may associate particular locations with protective deities, and signify these through the placement of shrines, altars and other objects. In classical Roman religion a ‘genius loci’ was the protective spirit of a place, to be revered and worshipped. Today our term ‘heritage’ seems to define a similar phenomenon: it’s a word we use to describe the multi-layered qualities and spirit of an area: its landscape, history and culture. A sense of place that is valued and respected.  In the Genius Loci work I’ve been aiming to ‘tap in’ to what makes places feel distinctive and special.

You can see more here on my blog: http://www.fionacandy.uk/blog/?p=1596

Q.3. HB: While looking at your work, I drew similarities of themes with artist Robert Smithson, how do other artists’ influences relate to your work? What are your influences?

A. FC:   That's a good question and a difficult one to answer, as I try not to be influenced in any direct or conscious way.  That's not to say I’m not influenced, as it’s impossible to avoid.  But when I look at other artists’ work, it’s generally as a means to liberate practical techniques and processes that I can re-purpose, and so connections can be rather tangential. There are many artists whose work I admire, far too many to be specific. Thank you for the mention of Robert Smithson. I was aware of ‘Spiral Jetty’, but hadn’t yet engaged with his work further. I’ve looked him up since our chat, and like what I’ve found. Perhaps there are similarities in our interest in the continually transforming relationships between humans and landscape. On the other hand, it’s an ancient, even eternal theme: something that can’t realistically be attributed to any one person, as ultimately it transcends us all as individuals.

Q.4.  HB: What do you hope to gain from the experiences of being on the AA2A scheme at UCLan? Do you have any plans for after the Scheme?

A. FC:  The AA2A scheme is a great way to engage with the art college ‘genius loci’- to allow its particular atmosphere and creative energy, to affect and direct me. I’ve already benefitted from fantastic input from Geoff Wilcock, the ceramics technician, at UClan. I love to learn about the traditions and stories held within craft and making. I don't expect to ever become a skilled ceramicist like Geoff, but I find having access to his particular and special way of knowing, very stimulating and helpful to bring abstract ideas into reality, in unexpected ways. I listen and observe, and experiment with the properties of materials, and allow this to morph and merge with the other topics I’m working with. I’m planning to use a corridor space in Victoria Building for a small exhibition in May, and this is acting as a deadline for getting some pieces to a more resolved or finished state. 

I think of creative practice as a way of being – as well as a profession. For me, it's a way to explore, try things out and learn. I think art practice can be as important as you want it to be

Q. 5. FC:

Hope its OK to turn the tables Hollie – while we’ve been chatting, you mentioned that you are applying for an MA for your next stage after graduating. Sounds exciting. I’m really interested to hear about your current aims for an opportunity to continue to Masters level. Do you already have ideas formulated about what you want to achieve? 

A. HB:

I have some ideas for the MA, after experimenting with different themes and materials during the BA(hons) at UCLan, I found that I would like to go back to making Zines, which I explored during my second year. I enjoyed the simplicity of collage making, photography on site and the finished product of a hand-made zine. I intend to continue with the themes of negative space, from which I have uploaded some images on the AA2A website:

https://aa2a.biz/pg/photos/album/32295/negative-space

I would like to explore the images further beyond zines too, possibly into larger installation pieces. I decided to apply for the MA to hone my practice further, before going into ‘the real world’. It also means I can carry on using the facilities at UCLan as well as the tutor’s advice, which is invaluable.

I’m still working out what will come after the MA, maybe I’ll be an artist on the AA2A too!

 

 

 

 

Preparing for my talk/presentation next week at ARU

February 28, 2018 by Chris Meigh-Andrews   Comments (0)

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The heavy snowfall made travelling to Cambridge (or anywhere else!) too challenging today, so I am working from home on my talk, scheduled for next week. I am planing something which is part preformance, part presentation, so the whole project requires more time and thought, as I'm not using any of my "off the shelf" powerpoint presentations...

Have also put some more thought into the question of how to integrate the drone video sequence, and have found a couple of possible solutions which will need testing out and experimentation. However, this will have to wait until I have completed the preparations for my talk.