Art Newsletter - Academic Year 2021/2022

THE BSAK

AR RT T A

THE BRITISH SCHOOL AL KHUB AIRAT

EDITION #1

WELCOMING WORDS FROM THE ART DEPARTMENT Mr. Dan Emery - Head of Art It gives me great pleasure to introduce this first edition of the BSAK Art Newsletter.

This new publication aims to showcase student creativity and act as a platform for wider contextual and cultural exploration.

Our new Art Ambassadors have been the driving force behind this venture and I’m very proud of the way they have collaborated and communicated to launch this first edition. Looking ahead, there are already plans for content development and of course there is the competition to create a name for the newsletter, so hopefully our next edition will bear a new title!

I hope you enjoy looking through as much as I have done.

Congratulations to all contributors and if there is anyone out there that would like to be involved please do contact our Art Ambassadors.

Ms. Monica Zakka The publication you are now reading began its gestation a while back in a series of notional explorations of contemporary born-digital art1 practices and the digital realm, at large. In light of the Covid-19 pandemic, many have been reverting to the claim that any attempt made to characterize the present cultural condition, such as the one in question, is very likely to seem idealistic, as is the case of any contemporary critical theory that ventures to map out the present historical moment. Generally speaking, all these efforts are often met with the same denouement: finding out that the social and historical setting of the critical activity seem to be uncharacterizable as a whole, and too complex in order for pertinent historical conclusions to be drawn out from them.

However, it would restrict our scope of vision to only operate within this rigid set of habitual thinking patterns.

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As the Art Department of the British School Al Khubairat, it is our firm conviction that this situation eventuates precisely because one is attempting to historicize the present. It would indeed be helpful to bear in mind the claim of the philosopher Giorgio Agamben, that the contemporary individual is the one who does not perfectly coincide with one’s own epoch, and who adheres to it instead through “disjunction and even anachronism”2. The contemporary, in effect, firmly maintains his gaze on his own time, while simultaneously retaining a distance that yields observation, hence slowly grasping the present with a deep gesture that permeates the surface of heretofore unmapped theoretical terrains3. Therefore, in addition to revealing our fragilities, COVID-19 has also presented us with the possibility to reassess the basic epistemological, ontological and cultural infrastructures that shape our artistic thinking as we embark on a novel academic term.

And yet, despite its emphasis on the digital, the publication in question never attempts to lose sight of the formal dimension of art, at large. The photographs that have been assembled for this first edition are, of course, cultural artifacts with a contextual meaning, subject to a great diversity of interpretations, but they are also entities with an independent aesthetic life. This first edition of the art newsletter hopes to draw attention to the variety of formal “languages” invented by our visually acerbic art ambassadors in their attempts to capture the fleeting, the momentary, the disintegrating, as well as to survey the multiple means by which the ostensibly non-narrative and abstract phenomenon of “digitality” can be given narrational structure.

On the other hand, it seems prominent to underline that the Art Newsletter is not the work of an individual, but is necessarily a collaborative enterprise. Faced with the task of rendering palpable the impalpable, our art ambassadors endeavored to think holistically about new interdisciplinary questions pertaining to the digital and artistic realms, as well as to reconfigure relationships between historical eras and art historical principles of value, in order to generate novel forms of artistic knowledge. A whole syntax, a visual taxonomy evolved out of these artistic reflections. In fact, this attempt at reconstruction allows us to begin to find our way through this strange digital landscape in which a new style of apprehending aesthetic phenomena is elaborated - where knowledge becomes a boundless configuration and the rift between the production of the works and their interpretations is completely abolished.

The digital is therefore a theme running, threadlike, throughout the entire publication. Within the pages of this first edition of the Art Newsletter, you will find a syncretic laboratory of artworks skillfully executed by our very own students, varied not only in subject and technique but also in how each artwork positions itself in relation to the viewer. Furthermore, you will equally find a book review, a guide for prospective GCSE photography students, the current happenings of the BSAK art department, an art competition, an essay exploring the history of the increasingly heterogeneous born-digital art landscape and so much more. So leaf through the pages of this locus of a colloquy of texts and images and discover the manifold ways in which new light can be thrown on each contribution through the contribution of all the others therefore creating an extended field of contemporary cultural thinking. ______________________________________________ 1 The born-digital artwork is to be understood as any object that makes use of digital devices (audiovisual recording equipment) such as digital photography, video and commercial software for its production, as well as works that are mainly based on the custom programming of their source code, such as net.art. Produced in a digital format from the outset, they therefore constitute a category that is entirely distinct from traditional media (i.e painting) and analog artworks--such as single-channel videos that were digitized at a later stage--despite sharing a vast array of aesthetic and conceptual similitudes.

2 Giorgio Agamben, “What is the Contemporary?” in What is an Apparatus? And Other Essays, trans. David Kishik and Stefan Pedatella (Stanford: Stanford University Press, 2009), 41.

3 Ibid.

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AN OUTSTANDING TOUR DE FORCE

It is with great pride and pleasure that I share with you the fantastic news that just before the winter-break we received notification that we are officially an award-winning art department!

As finalists again this academic year, we were announced as the ‘Best school in the UAE for Fine Art and Creative Studio Work 2021/2022’.

We are incredibly proud to have received this accolade. Not only is it a reflection of the vivid energy of the department and the support of the school and wider BSAK community, but most importantly, we see this as a recognition of our students. It is their creativity, imagination, passion and commitment to art that really sets us apart. Evidence of our young artists’ creative adroitness is everywhere throughout BSAK. In fact, we are not finished, as there are plenty more walls and spaces—both real and virtual—yet to be used to celebrate art in all its forms at BSAK! Along with many examples of creativity from our students, this art award equally reflects the whole school community. Feedback and testimonials from parents, staff, students and outside agencies formed the basis of our presentation and all contributors made incredibly positive written contributions highlighting art and our young creatives at BSAK. Very well done and a heartfelt thank you to all involved at BSAK who support and contribute to the art programme, to the students and to its continued development.

Warmest regards Mr Emery Head of Art

CONTENTS CURRENT HAPPENINGS...................5 HISTORY OF DIGITAL ART...................6 A BOOK FROM OUR LIBRARY...................8 INTERVIEW WITH AN ARTIST...................9 ARTIST(S) IN FOCUS...................10 GCSE GUIDE...................12 CAREER ADVICE...................13 GALLERY OF HONOUR...................14

ART COMPETITION For this first edition of the Art Newsletter, we want to honor your imagination, engage your creative prowess and invite you to transform your innovative ideas into text. We are on the lookout for a talented BSAK student (all year groups and backgrounds invited) to come up with a title for our triennial Art Newsletter. And yet, this competition embeds within it a hidden instruction or a cautionary note, if you will: be intentional in how you communicate art’s critical value.

Send your creative ideas to aiva07@britishschool.sch.ae for an opportunity to win a unique prize and the chance to be featured within the next edition of our Art Newsletter.

Our art ambassadors will go through your entries and select a lucky winner.

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CURRENT

By Lara Parsons and Francesa Stephenson

HAPPENINGS

With something always going on in our ever-changing lives, new exciting opportunities arise. Today, we have a plethora of amazing opportunities and events that you can participate in.

First of all, the Arts University Bournemouth is hosting an international competition that is open to students aged 15-18. They are offering 200 pounds worth of art supplies, alongside a 3000 pound scholarship. It details that you should submit pieces of art that “Recreate the Everyday”, transforming mundane everyday items into innovative artwork using your choice of medium from photographs, film, sketch, painting to a piece of creative writing. However, it is equally important to note that your submission should be unique and portray a new perspective or narrative on your chosen object.

We are equally pleased to announce the creation of the first of its kind Art History Society, a meaning-making apparatus predicated on the notion that artworks are not neutral containers offering an unmediated experience, but rather repositories of communicative language, conflating a number of different social, political, cultural and economic contexts. If you are a Y12 or Y13 student, then join us for an opportunity to cast a keen and lively glance on the fundamental approaches that have been utilized to evaluate artworks by influential figures throughout the main chronological stages of history—-and understand how these methodologies are evolving and shaping our cultural infrastructures even today. To register and learn more, please send an email to mzakka@britishschool.sch.ae.

We also invite everyone to stay on the lookout for the whole-school 50th virtual art exhibition happening very soon. This unprecedented event is set to assemble a diverse group of work, not only in technique and subject, but also in how the artwork invites the viewer to see it. Additionally, and from a curatorial perspective, all exhibited artworks shall be accorded the same level of agency through a non-linear presentation. So join us as we celebrate student creative expression and commemorate the UAE National Day. And finally, we would like to congratulate Akaylia Jackson-Turner (8CE) for a winning entry in the Deerfields Mall 50th Art Competition. BSAK students, along with 9 other schools (1000 students) were invited to participate in a commemorative 50th Art Competition which culminated in a celebratory exhibition of the artwork entered. Visitors to the mall who saw the exhibited artwork used social media to vote on their favourite artwork. Akaylia’s creation was selected and eventually won 2nd prize in the 11-16 age category, a fantastic result and the winner of a 1000 AED! A brilliant achievement by Akaylia and very well done to her and to all the participants. Maybe you next time!

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HISTORY

OF DIGITAL ART

By Iva Ajtoski

Born-digital art can be simply described as a form of artistic production that is created with the use of digital technology or presented through it. And while nowadays it is common to hear criticism of born-digital art being thrown around on the basis of how it is not a “real” or “legitimate” art form, artists have been creating these types of artworks starting from as early as the 1950s. The creation of born-digital art throughout history is what pushed the development of various programs we still use in our day and age to create graphics, as well as animation in both films and video games.

The earliest forms of computer-generated art were created with the help of a scientific device used to display the waveforms of electric signals, known as an oscilloscope. They captured these images through long exposure photography, as the waves displayed by an oscilloscope are in perpetual movement. Furthermore, since computers at the time were not advanced enough and scientific equipment like the oscilloscope was not widely available or cheap, many artists with a background in fine arts did not have access to them. It is for this reason in particular that the first pioneers of born-digital art were mathematicians and scientists.

Ben Laposky, Oscillon 40, 1952.

The most famous computer artist of this time and considered to be the greatest pioneer of digital and analog art was an American Mathematician called Ben Lapovsky. He first gained recognition for his collection of abstract photographs titled ‘Oscillations’ and created with the help of an oscilloscope. Lapovsky’s earliest works started off in black and white as these were the only colours available for use at the time, particularly since the scientific equipment being utilized at the time was not made with the intention of creating vibrant and colourful art. n the 1960s, artists began to program devices like computers for the purpose of making art, therefore allowing them to be more creative with their work. For producing the actual work, the most popular devices used were a plotter, a device that connects to a computer and allows it to draw with a pen or a brush, as well as an impact printer, a device which was similar to a typewriter and applied ink directly onto the paper by force.

Because of how limited and primitive the devices were for creating born-digital art, they fixated their gaze largely and solely on geometry and abstract art, instead of realism and figurative art. Artists were still exploring new mediums, so their art consisted of randomized forms which allowed them to experiment freely and without worrying about the actual content of the works. Frieder Nake best displayed this when he gained popularity for his work Hommage à Paul Klee which was a plotter-made piece of digital work inspired by Paul Klee’s High Roads and Byroads. Nake used Paul Klee’s oil on canvas as a reference, and then provided the plotter with instructions so it can recreate it. While the work’s context and general design do not belong to Nake, they nonetheless allowed him to focus more on the arbitrariness and aesthetics of the work as opposed to its contextual meaning.

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Paul Klee, High Roads and Byroads, 1929.

Frieder Nake, Hommage à Paul Klee, 1964.

By the 1970s artists with a fine arts background--as opposed to a scientific or mathematical background--started to get more involved in born-digital art. This increase in interest led to the creation of the Experimental and Computing Department at the Slade School of Fine Art in London, one of the first universities to fully integrate born-digital art into their curriculum.

One of Slade’s most notable students was Paul Brown, who developed a program that consisted of three tiles that would rotate and create abstract designs with the use of a plotter. Additionally, he wrote another program using a programming language made solely for scientists and computer engineers called Fortran, which was highly ambitious for an artist coming from a fine arts background. Like in the previous decade, the born-digital art of the 1970s was still quite abstract and free of narrative and figuration. However, because of the technological developments that occured, one could also discern a change in the quality, and how well-defined the lines and shapes are in Paul Brown’s work, notably in comparison to Frieder Nake’s oeuvre.

Paul Brown, Untitled Computer Assisted Drawing, 1975.

With the creation of Microsoft and Apple, computers became more commonly found in regular homes in the 1980s, and more people had access to them. Inkjet printers which are still in use today were also first conceived during this time, so outputting art created on the computer became a much easier task, particularly since everyone had access to computers. Born-digital art therefore became a huge part of popular culture during this period, and we began to see it being used for the creation of popular video games and even for film effects.

With the creation of Microsoft and Apple, computers became more commonly found in regular homes in the 1980s, and more people had access to them. Inkjet printers which are still in use today were also first conceived during this time, so outputting art created on the computer became a much easier task, particularly since everyone had access to computers. Born-digital art therefore became a huge part of popular culture during this period, and we began to see it being used for the creation of popular video games and even for film effects.

Kenneth Snelson, Forest Devils' MoonNight, 1989.

It is an ineluctable truth that born-digital art has been fully integrated into our daily lives since the 1990s, as by then specific programs and devices have been created to assist artists in creating this type of art. It has become a major part of every design process, from digital concept sketches to 3D design prototypes, and has opened up a variety of career pathways for artists. Nowadays, programs like Illustrator or Photoshop are widely used, and digital enthusiasts are constantly conceiving new developments for artists to express their creativity, as art continues to transcend the canvas and the paper.

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A BOOK

FROM OUR LIBRARY

By Ms. Monica Zakka

DIGITAL ART

BY CHRISTIANE PAUL

Ever since their inception, born-digital artworks and the field of digital art have been at the nucleus of a vast quantum of questions and contentions, most deriving from a rather idiosyncratically digital inclination to perceive the processes governing these artifacts as dissimilar and completely independent from the rest of the body of human techniques and processes of traditional media--namely painting and sculpture1. If we follow this argument through to its logical conclusion then reality, notably the kind delivered by analog photography, along with notions of mimesis2 are all to be held captive in the dustbin of history.

Paul, Christiane. Digital Art. London: Thames & Hudson, 2008. (S776.09 PAU C.1)

However, this medium-specific approach to digital art production is challenged and at times refuted by the Messiah of the digital realm, Christiane Paul, in her seminal book Digital Art, in which she traces the historical development of this field whilst simultaneously giving credence to the notion that the immaterial does not run counter to the tangible. Indeed, the author writes with magisterial poise on the subject and treats this artistic production according to not only its materiality but also its function and its diverse array of themes--therefore dislocating it from a wide spectrum of counterproductive guises through which it is portrayed, associations with which it has been entangled, and contexts in which it is usually seen. The hallmark of Paul’s style is a supremely calm tone, conveying a combination of quiet erudition allied with an overridingly patient confidence. The coherence of the organization, the quality of the images and meticulous attention to detail all render this book a pleasurable read and an insightful introduction to the world of born-digital art for the general readership.

It is an ineluctable truth that global contemporary artistic production--including that of born-digital artists--differs greatly in regards to method and language. Paul’s publication asserts, however, that they all share one intrinsic commonality: serving as a witness to the human condition. Born-digital artworks simultaneously portray and reflect the evolution that the image and visuality at large have undergone over the past few decades. For this reason in particular, the artistic and conceptual currents that they represent deserve to find a place in our libraries and collective memory.

Regardless of its reliance on source code and software; it is the material space of the library that gives credence to a born-digital artwork’s conceptual content. Otherwise said, while born-digital artists are incessantly bestowing on their artwork the title “work of art”, in the sovereign manner of a Napoleon seizing the crown from the pope’s hand to put it on his own head, the placement of the born-digital artwork on contemporary media such as the internet does not insure its existence in our collective memory—an existence that is by all means contingent on the promoters of this digital creation like Christiane Paul, as well as us, the readers. So head to our secondary library and leaf through this wonderfully produced paperback edition offering an incisive overview of the world of born-digital art, and discover a world wherein the virtual is placed in dialogue with the analog. ______________________________________________ This sterile discourse is predominantly informed by a surge of new media theory studies, instigated by highly-esteemed scholars such as Lev Manovich and his followers announcing a “digital turn”, in which the old analog-based “mechanical” media are to be completely usurped by the source code and the perpetually mutating algorithms of born-digital art production.

2 A term derived from Ancient Greek, habitually utilized in aesthetic theory, literary criticism and philosophical discourse to describe any attempt to reproduce reality--notably human action--in art and literature. For more on this, see Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, trans.

Willard R. Trask (Princeton: Princeton University Press, 1946).

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INTERVIEW

By Iva Ajtoski

WITH AN ARTIST

Slave Ajtoski is a 73 year old abstract artist from Macedonia. His works mainly focus on the abstraction of birds in flight through bronze sculptures. For this first edition of the Art Newsletter, we sat down with him to acquire a better understanding of how the older generations of artists perceive the new wave of born-digital art.

What was it like studying art when you were growing up?

I was born and raised in a Macedonian town called Prilep to a large family of farmers. It was very clear from a young age that unlike my siblings I did not show great passion for the family business, and instead had a predilection for the arts. I was fortunate enough to have parents who allowed me to attend a high school for the arts in the capital city of Skopje, so that I would be able to pursue a better and higher education. The internet was not available to me while growing up, therefore having good teachers and resources was something I could only get from my formal education. Most of this Čuvar horizonta education was extremely far from home, which is why I (Protector of the Horizon) Dezorijentisana (Disoriented) travelled to Serbia for university, where I would study sculpat the Belgrade University of Fine Art. Studying art was also a huge risk for my family at the time, not only because they were sending me extremely far away from home, but also because there weren’t as many careers available for artists as there are now.

What inspires you as an artist?

I have always been fascinated with capturing natural forms, especially birds, through a more abstract lens. Within my exhibition ‘Protectors of the Horizon’, I explore the movements of birds through abstract shapes until they almost become unrecognizable, so that what is appreciated is the form created by them rather than the bird itself.

Do you have any thoughts on the rise of the use of digital technologies in the world of art?

I am completely fascinated by it. It opens so many doors for new artists in terms of both creativity and opportunity. I see my children and grandchild using all of these new programs and machines to not only draw but also create actual 3D art. Witnessing the digital age of art has been bizarre and I never would have thought I would witness artists being able to draw on the go with just a touch of an iPhone. My sons have helped me utilize digital technologies like 3D scanners and printers to create miniature replicas of my larger works. I am an old man and honestly still do not fully understand how it all works, but being able to witness a computer printing out a tiny 3D replica of my own work has been truly amazing.

Do you have an advice for young and emerging artists?

You are growing up in the wonderful age of technology, so make sure you make the most of it. The whole world of knowledge is available to you with just a simple movement of a finger so make use of it to expand your creative horizons. And with all these new programs and devices being developed don’t be afraid to push boundaries and limits with your art. Absolutely anything is possible, so never limit yourself.

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IN FOCUS: BORN DIGITAL ARTISTS Matthew St. Pierre

By Iva Ajtoski

Matthew St. Pierre is a Canadian Glitch artist. He explores a variety of visual forms in his art by abstracting his photography to a point where sometimes the images cannot even be recognized. Many of his artworks feature bright colors or even fragmented imagery. The inspiration behind his works originates from memories and particularly how small things like colours or shapes can sometimes trigger fragmented and old memories. His works are a digital reflection of images glitching much like how we can experience glitches within our own brain and memory as well.

Corn Fields by Matthew St. Pierre, 2012

고등어 by Matthew St. Pierre, 2015

Glitch Soul by Matthew St. Pierre, 2014

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David Fernández Huerta

(Monument Valley)

David Fernández Huerta is the lead artist and art director for the video game Monument Valley. The game objective is for the player to pass through various levels filled with geometric monuments and optical illusions. The 3D designed architecture is made to appear as if it is changing based on the players’ perspective, allowing them to access secret buttons or cross bridges, so they can progress through the game. Monument Valley’s colour palettes and simplistic approach to design are what renders it so visually appealing for audiences.

Chapter III: Hidden Temple, Monument Valley

Chapter V: The Spire, Monument Valley

Chapter IV: Water Palace, Monument Valley

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GCSE GUIDE

By Kathryn McGuire

When picking a GCSE or an A-Level subject, particularly Art, it can seem scary as if you’re going into it blind. I know I can relate to this experience, but as an A-Level Photography student (and a former GCSE Photography student), I wanted to answer some of these questions and uncertainties, and discuss both the A-level and GCSE courses from a student's perspective. For this first edition of the Art Newsletter, I will only be discussing Photography, but the subjects are not that different, so you can still take advice from this even if you choose Graphic Communications or Fine Art instead.

In both GCSE and A-Level, once you get a new project title, the first line of action is to make a mindmap of all your initial thoughts and ideas; next, you look online and on the websites recommended in the Handbook1 for inspiration. This inspiration can be in any form — paintings, sculptures, sketches, videos, photography — anything that interests you

and/or connects to the project title (do not leave anything out, a good inspiration board will go so far when you start your project). Then you can take some of the artists from your inspiration and research them further, looking at their collections, sketches/ideas, interviews they have done, and so forth. The next step is to plan your photo shoot, as after doing initial ideas, inspiration boards and artist research, you should at least have some ideas on what you could do for the project; write out your first idea, and do some sketches of what it may look like. Maybe even jot down an issue you want to explore (racism, global warming, bullying etc.), though this may not be relevant to every photo shoot.

When taking your photos, my first piece of advice (and most likely your teacher’s advice) is to take way more photos than you’re expected to. This ensures that you have fully explored your photo shoot and that you have recorded every possible angle, position, object, background, idea, formal element etc (Formal elements are the ‘parts’ or elements that make up an artwork: colour, space, pattern, line, form, shape, composition, texture, and tone). My next piece of advice is to take bad photos (yes, you read that correctly), as without taking photos that you don’t like or you think are embarrassing, you will never grow to your highest potential. Taking ‘bad’ photos allows you to identify what it is exactly you do not like and learn from past mistakes and experiences. It also allows you to see your progress throughout the two years, otherwise what is the point in having perfect photos at the start? Where will you go from there if you have already reached the top?

The next (and often the last) part of a project is the critical analysis and reflection, and this is what most students are anxious about when starting their first photography course. But once you get started, it is not that difficult to do, and you improve your analysis skills drastically over the two years. There are so many ways to go and things to talk about, but here are some suggestions of what you may write about: why did you take these photos? What formal elements are most interesting here, and why? How could you improve this photo shoot/specific photo? Are the colours working with or against each other? How may the viewer interpret this, and how did you interpret it?

There are so many different projects that you could have over the two years and within these, your freedom, personal style and interests are incredibly important in developing your work as an artist. You may be particularly interested in a range of styles (abstract, portrait, landscape, underwater, cluttered, minimalistic etc.) and have the opportunity to explore all of them. Some of the project titles you may encounter are Architecture, Narrative, Environment and Abstract. You can also do more with your photos such as ripping them up and rearranging them, creating a flipbook, spray painting over them, combining them in photoshop, painting over them, burning the edges and so many other exciting options. Whatever you decide to pick in your GCSEs and A-Levels, whether or not that includes Photography, I wish you the best of luck and I hope this has helped you to get a clearer idea of the course and make a more informed decision. ______________________________________________

The Handbook is a google slide document you will be given when you start the course, this includes links to possible research, sentence starters, what to consider during research, and anything else you may need throughout the two years

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CAREER

By Lara Parsons and Francesca Stephenson

ADVICE

Art is typically termed as a leisure activity, but it can truly become more than what that simplistic denomination dictates. It can transcend way beyond enjoyment and fulfill your life as part of your livelihood, transforming your hobby into your next meal, next shopping trip and even your next house.

All three art-based studies, including photography, graphic design and fine art are amazing A-levels and GCSES to take in order to pursue an artistic degree or route for further studies and job opportunities. Undertaking any of the three arts professionally allows you to develop an extensive range of creativite, innovative and technical skills to expand your horizons, perceive things from a different perspective and stand out from the crowd. the

A Level Combos English literature Media studies History Business studies Drama studies Textiles

GCSE Combos Business studies Drama studies Media studies English literature Product design Textiles History Geography

PHOTOGRAPHY Photography can lead to both academic and creative degrees and future pathways (within the arts photography can help pursue a career in: Advertising, Editorial,Fashion,Fashion photography, Commercial work, Film, Industrial, Architectural, Portraiture and Wedding photography, Sports and Travel, Press photography, Photojournalism, Editing and many more.

Degree Options

Job Options

Photography Art history

Photographer Commercial and Advertising Photographer

Commercial photography Photography and fine art Live visual design and production Fashion photography Media makeup Art and design Film and visual effects Cinematography Film and screen studies

Editorial and Press Photographer Fashion Photographer Fine Art Photographer Wedding Photographer Medical/Clinical Photographer Digital Imaging Specialist Picture Researcher Art and Photo Editor Further Education Lecturer Higher Education Lecturer

Moreover, art subjects are not confined to these jobs, as the skills taught will aid you in various other career areas. Creative thinking, problem solving, time management, critical and analytical thinking can aid with a diverse array of jobs, including architecture, engineering, entrepreneurships and directing. Other skills such as independence and communication skills will not only enhance your career, but also life at large.

The website below can help you explore a more detailed discussion of routes your A-levels can take you down. https://gcccc4f6c5ed303-sacu2021.adb.uk-london-1.oraclecloudapps.com/ords/f?p=SACU_BROWSE:331:0

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GALLERY OF HONOUR Our secondary students have been hard at work in the Art Department, and we would like to honour them and their work in this dedicated gallery.

GRAPHICS

GCSE Graphic Design students have been working tirelessly to design their own chocolate brands.

PHOTOGRAPHY

The students of the GCSE Photography class have displayed a remarkable creative prowess and intellectual vigor for the BSME competition, openly welcoming aesthetically challenging precepts and gestures.

Work by Shahd Abou El Nasr

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From creating ceramic masterpieces to painting on textile, the art students have been fortunate enough to create artwork with a wide range of mediums and disciplines.

Work by Amber Pengilley

ART

Work by Logan Pearce

Work by Raya Hadaddin Work by Salsabeel Azaz

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A very special thanks to all those who made this newsletter happen ART AMBASSADORS Andrialy Razafindralambo Fatima Hussain Francesca Stephenson Iva Ajtoski Kathryn McGuire Lara Parsons

ART DEPARTMENT Dan Emery

(demery@britishschool.sch.ae)

Katerina Bohac (kbohac@britishschool.sch.ae) Monica Zakka

(mzakka@britishschool.sch.ae)

Thomas Smith (tsmith@britishschool.sch.ae)