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Edited and designed By Chantelle May Purcell CONTRIBUTORS Elinor Olisa Isobel Beauchamp Anneka Soobhany Nicola Anthony Sophia Moseley Chantelle May Purcell

COVER: UYANIŞ REVIVAL, 2012, Sculpture, 43 x 36 x 34 cm, £640 (Photograph by Martin Avery, 2012)

COPYRIGHT © DegreeART 2012


What’s On: ‘Objects of Desire’....................... Advent of Art Offers....................................... Degree Art’s Gift Guide.................................. Degree ART Residencies...............................




This month Isobel Beauchamp brings you her TOP PICKS and selects a seasonal selection of winterscapes...............................


Anneka Soobhany brings you x10 new art works .............................................................

We welcome new artists and reveal insight into the ’Objects of Desire’ exhibition: Gina Langridge................................................ Betül Katigöz................................................... Jin Eui Kim...................................................... We welcome the New Artists that have recently joined................................................


FEATURED ARTIST: Lauren Mortimer we delve into her practice and bring you an exclusive offer!...........................................

SCULPTURAL TENDENCIES: Writer Sophia Moseley interviews Laura Fishman to find out more about the developments she has made in her practice


We find out more about Nicola Anthony’s relocation to Singapore..................................


Top Ten tips to commissioning Art.................



Give the Gift of Art this Christmas DegreeArt excitedly launched its Online GIFT SHOP this November. Which Showcases a varied selection of handpicked and carefully sourced graduate artist and designers creating ceramics, glassware and jewellery amongst other desirable and giftable objects starting from £15.00. The current exhibition ‘Objects of Desire’, showcases works by the shop’s 50 founding members and incorporates our ‘Advent of Art’ which will see a piece of artwork and special offer revealed. For any press enquiries please email: Exhibition Runs: 23rd November – 20th January 2013, 12-6pm, so there is still time to see it in the New Year! 12a Vyner Street, London, E2 9DG Art Gift Vouchers If you are not certain about what to purchase, DegreeArt offers beautiful art gift vouchers that are redeemable online, at the gallery, or at art fairs and allow the recipient to purchase original pieces of art and items from the gift shop. The vouchers come in values of £25, £50, £100 & £200. Vouchers can be sent directly in the post for £10 or, at no cost, by email. Posted vouchers are sent recorded delivery and presented in lovely little reusable mini-art frames. Art Gifts that Travel Going away for Christmas? During the run up to festive period, we are offering ‘Art That Can Travel’, making it easy to transport gifts to your loved ones, in your suitcase. Our curated selection includes limited edition and handmade prints, that are gently rolled up in pretty gift wrapped tubes, carefully packaged sculptures and small, but beautiful original paintings on canvas.

Art for All DegreeArt are happy to advise on suitable artwork to fit your budget or requirements so do get in touch with the team at or call 020 8980 0395. All artwork comes with a 14 day trial and artists can be commissioned to create personalised pieces. Interest Free Art Loans DegreeArt offers an interest free payment plan through their website and over the phone. Clients can typically borrow between £200 and £2,000 interest free over 10 months. Visit the site for more info. – 020 8980 0395 – 12a Vyner Street, London, E2 9DG


XMAS20 20% OFF

We are going to help you out! Santa’s arty helpers if you will! With only a few days to go until Christmas, we are offering 20% off your next purchase from Simply enter: XMAS20 In the Coupon Code box to receive your discount. Redeemable within the gallery Please note that the 20% discount will be applied to your order total once you have completed checkout. Terms and Conditions: Offer expires Monday 24th December 2012.


Johannes Nie


elson, Rebecca Molloy, Hazel Ashe, Hannah Biscombe, Mary Dalton, Yuki Aruga, Izzy Miller, & Ramzi Musa.


ANNA ROTHWELL: Lucy £140, Cheeky Monkey £140

YUKI ARUGA: Isshoni: Juku £85.00

DOMINIKA LASZKOWSKA: Blue Treasure Box £39.00

JOHANNES NIELSEN: Atmosphere #1 £1,800.00

XMAS20 20% OFF

SARA NEWMAN: Set of 6 Winter Tree Tumblers £180.00

SARA NEWMAN: Set of 4 Shot Glasses £67.50

DOMINIKA LASZKOWSKA: Sugar Pot #3 £32.00 JOHANNES NIELSEN: The Silent Truth #3 £2,300.00 LARA FISHMAN: Coral Cuboid £260

DOMINIKA LASZKOWSKA: Shot Cup Speckled #1 £17.00

CLARE SHROUDER: The Clock Spirit And The Lovers £400.00


MARK HAYWARD ‘Little Train’ £90.00 CLARE SHROUDER: Eleonora £195.00

XMAS20 20% OFF

CARRIE MAY: Toucan Too £75.00

LAUREN MORTIMER: I Scream For Ice Cream - Print £80.00

CARRIE MAY: Noah’s Ark £75.00

MARK HAYWARD ‘Little Police’ £120.00

MENGSEL DESIGN: Bigger Boat in Yellow £85.00


CLARE SHROUDER: The Imaginary Maiden £100.00

CARRIE MAY: So Many Legs £45.00

VICTORIA SCOTT: I Dream of Ice Cream £100.00 XMAS20 20% OFF

LOUISE MCNAUGHT Wild and Wee - Glittering Baby Penguin £60.00 CATH LATHAN Flying Pig Brooch £14

ANNA ROTHWELL: Away with the Fairies £140.00

CHRISTINE BRADSHAW: Anna’s First Shoes £100.00



XMAS20 20% OFF




7. 4.



1. SIAN HAIGH-BROWN Vesey Brooch £380.00 2. CATRIONA FAULKNER Love Me2 £700.00


3. ALEXANDRA PARKINSON JEWELLER & SILVERSMITH Copper Crinkle Bangle £120 4. JO CANDLISH Medium silver Astralis earrings £170.00 5. JO CANDLISH Small silver Astralis ring £120.00 6. CATRIONA FAULKNER Black gunspike cross £500 7. MEG DARLINGTON Pale Blue Chipped Woodn Ring £160.00 8. ALEXANDRA PARKINSON JEWELLER & SILVERSMITH Oxidised copper crinkle bangle £120


9. LOUISE MCNAUGHT Nature - ‘Close to my Heart’ Amulets Starting from £49.50 10. MEG DARLINGTON Pale Blue Chipped Wood Brooch £260.00 11. JANE HARRISON The Lonely Blue Tit £420.00



XMAS20 20% OFF

LOUISE MCNAUGHT Precious Bronze Tie Pin £25.00 LAUREN MORTIMER New Recruits £70.00

PATRICK MADDEN “A tiny peace of his soul” £900.00

LOUISE MCNAUGHT Wild Stag Cufflinks £39.50

LOUISE MCNAUGHT Grouse in a Whisky Bottle £245.00

ELAINE BOLT Brushes 1 £195.00

BOBBY PATMORE James £165.00

HELEN GORRILL Untitled 7 (Deconstruction of the Virgin) £200.00




DegreeArt will require the following from each residency:

In 2013 we will be offering residencies, for a minimum of 2 weeks to maximum of 3 months, open to individual artists or collaborations (between artists and /or other creative industries).

A clear plan for reaching and communicating your message to communities beyond Vyner Street

To obtain a residency, artists must submit a proposal to the DegreeArt panel made up of artists, clients and selected industry guests.

A carefully planned purpose, journey and schedule for the residency The creation / display of commercial artwork that will appeal to DegreeArt clients

At least one ‘Talk or Workshop’ aimed at artists, buyers and / or art enthusiasts First Thursday Exhibition open to the public Regular marketing content (for our blog,

press releases and newsletters) Regular updates of the residency would need to be recorded in order for DegreeArt to disseminate on our website / blog. (This could include a day by day diary, podcasts, videos, photo blogs, webcam streaming etc). Please be as creative and innovative as you like, proposals that encompass ideas that connect to the public, art enthusiasts, the local community and potential clients will be looked upon favourably. But do remember, works will need to be commercially viable. On the First Thursday’s of the month,

artists would be expected to either introduce their practice, or unveil the outcome of it dependent on the duration of the residency. All events must be professionally executed, i.e all marketing aspects of an exhibition must be considered, from labelling and presentation of the work in the gallery to invites and press releases. If interested in applying for the DegreeArt Residency programme please contact: For press enquiries contact:




GLASS HORSE HEAD 2012, hand blown glass sculpture, 18 x 33 x 14 cm, £500.00

Can you tell me more about the process of your work? My work is created using traditional glassblowing techniques and tools. To make the horse heads, I first created the head as a clay sculpture, which took many hours. I then made a plaster mould of it to blow hot glass into. The glass is blown into the mould and takes the shape of the horse head, and is hollow. Then it is cracked off the blowing iron and cools slowly over roughly 12 hours. The opening at the neck is then ground flat on a grinding wheel and smoothed with diamond pads until it isn’t sharp anymore, and the whole of the outside of the piece is sandblasted to achieve the frosted look and enhance the details. The whole process to create one small horse head can take about a week. Both colour and nature seems to be a strong influence within your work? Could you describe this more? Nature is my greatest inspiration, especially

horses and wild creatures such as stags and hares. I feel that people can relate to animals and that featuring them in my work helps to evoke deeper emotions from viewers of my work. Colour is very important because it can act both as decoration and to enhance the themes within a piece. The colours used for the horse heads were chosen because they are playful and contemporary, adding a dreamlike surrealist quality to each piece rather than trying to be a realistic interpretation of a horse’s head. What new developments have you found through experimenting with the materials and different techniques? Glass making has endless possibilities, once you grasp the basics of shapes and colour application you can play around with it in any way you can think of! I really enjoy making pieces that are purely decorative as well as my more sculptural work, and seeing how different colours react together. I have recently started incorporating gold leaf elements into my work and trying differ-

SMALL GLASS HORSE HEAD (BLUE) 2012, hand blown glass sculpture, 7.5 x 11.5 x 20 cm, £300.00

ent ways of applying and mixing colours together so my future series of pieces will be very different, but still in keeping with my style and themes. What is your favourite film of all time? I can’t choose! I love all genres, especially horror movies, and films like Into The Wild, Fight Club, A Good Year, Wanted, and pretty much anything with Johnny Depp! And Clueless of course, probably the girliest movie in my collection. What music are you currently listening to and why? My favourite band of all time is Incubus, their music is on another level. Also the lead singer is an amazing and inspirational artist. After that I love Pearl Jam, Goo Goo Dolls, Nine Inch Nails, Live, Mazzy Star, a good mix really. Which living artists do you most admire and why? Heather Jansch and her amazing driftwood

horses! They are so beautiful. I would LOVE to create a life size, permanent horse sculpture and she’s really inspired me to give it a try. I also really admire Brandon Boyd (the singer from Incubus) because he uses his art to help the environment and he always has very strong messages behind each piece without being too heavy. As for glass artists, I would have to say Dante Marioni, his works are so symmetrical and perfect and I love his use of colour. And of course Dale Chihuly and Lino Tagliapietra. Which deceased artist do you most admire and why? Émile Gallé and René Lalique for glass, I love the art nouveau style and the colours they used. Which exhibition that you have visited made the greatest impact on you and why? The Chihuly exhibition at the Halcyon Gallery, it was mind blowing!! I think it was the size of the

DegreeART inFOCUS pieces that struck me the most, making glass on that scale takes a great team and a massive amount of skill. What is the question you get asked most frequently about your work and how do you answer it? “How did you do the colours?” And my answer is that the colours are layered over each other and really the heat creates the effect. What / who inspired you to be an artist? It was just something I had bubbling up inside me really, even when I was very young. I find almost anything inspiring in some way! Can you tell us about where you make your art and what if any the significance of this location is? Well I have to make glass in the studio because that’s where the furnace is, it’s at the university and past students are allowed to rent it out when we need to. There aren’t many glass studios in the UK and it can be difficult to find one to rent that’s close and not too expensive. My paintings are currently created at home until I can build myself a proper studio! I do like to go and sketch my horse in person. What do you like most about being an artist? I like the way my work makes other people feel, especially when they receive a commission from me and see it for the first time, I love those moments. I also find great freedom in creating art, and peace. What is your greatest achievement as an artist to date? Being able to learn how to blow glass, and all the work I’ve created since then. Seeing how much my skills improved over the last 3 years has given me a real sense of accomplishment, and really it’s just the beginning. What are your plans for the coming year? To make more glass, paint more and buy my own kiln and studio so I can carry on doing ceramics too.

SMALL GLASS HORSE HEAD (PURPLE) 2012, hand blown glass sculpture, 7.5 x 11.5 x 20 cm, £300.00


INTERVIEW WITH BETÜL KATIGÖZ Can you tell me more about the process of your work? I have developed my own making process which combines the pinching and slabbing method inspired by one of the most famous Nigerian Potter, Ladi Kwali. Pinching clay is an amazing process which I believed can help me progress through my journey. I have been pushing and pinching and the tactility of the clay 12 hours each day of a week through my MA. As it explains in ‘The Potter’s Dictionary’ written by Frank and Janet Hamer, “pinching is forming a pot by the compressing action of fingers and thumb.” The pinch method is one of the earliest processes of shaping the clay before the potter’s wheel was invented. ‘The Potter’s Dictionary’ also quotes, “the idea is simple and pinching is often used as an introduction to pottery making. Mastery of the technique promotes close observation of the clay’s properties and the effects of the hands’ action. With development of skill one can make pots of great sensitivity.” Being a pinch potter, it is quite amazing to see the cooperation of my hands with my mind through the actual pots I created. All through my journey, making pots has become an important requirement and now it is one of the essential requirements in my life. Making vessels through pinching with my fingers is an indispensable need such as air and water for me. What have you learnt about the qualities of the medium itself, through experimenting with techniques and form? I think clay is an amazing material which has 'HISSEDIŞ’ PERCEIVE, 2012, Sculpture, 42 x 32 x 30 cm £640 - Photograph by Martin Avery, 2012

UYANIŞ REVIVAL, 2012, Sculpture, 43 x 36 x 34 cm, £640 Photograph by Martin Avery, 2012

inspired me a great deal through my journey. ‘Clay’ is a living object in my life. Clay is fragile as well as strong. I realize that you have to be passionate and dedicated about clay to be successful. When I started to discover my identity through the progress; it was a success for me. Also once my hands got used to touching to the clay and working with it, I could not stop. Every day, I have been learning something new about the clay through touching and feeling it as well as experimenting with the techniques. It is an important progress.

LALE TULIP, 2012, sculpture, 14 x 8 x 8 cm, £72.00

DegreeART inFOCUS What do you hope to communicate through your works? I have been trying to communicate my own personal emotion, feelings and ideas to the wider audience through symbolism in my own artworks. I have also been investigating my own way of communicating through the making of objects, feelings such as strength and fragility. The form of my vessels has symbolic meanings such as strength and fragility which comes from my own personality; as my mother describes me: “You look so fragile to me; I cannot understand how you built this strength of personality”. Your vessels seem to echo the symbolism and beauty present within nature. Can you talk more about your inspiration and the transformative state the material goes through? Since starting my MA twelve months ago, the ability to communicate has become a major

requirement in my life. I have to speak a foreign language to communicate as well as to understand people in their own language. Because of this reason, I wanted to investigate the kind of symbols I personally communicate with in my own life and how these symbols help me to communicate through my own work. Some of the symbols I have been exploring are those associated with nature and my own passion for ice skating. For me, metaphorically the meaning of a vessel is representative of the human body, mind and spirit. ‘Vessel’ is a signifier in my works which signifies human personality as well as their inner and outer appearance which relates to the inside and outside spaces of the vessel. This is one of the reasons I made the decision to concentrate on the ‘vessel’. One of the other reasons, vessel can be interpreted as a container which contains the feelings of human being in the figurative sense as well as a protector with its shell indicates human appearance. As a form, I am drawn to the Tulip as it has

Photographer: Natalie Tkachuk @ DegreeArt 2012 block letters from InSpitalfields

'DOKUNUŞ' SENSE OF TOUCH, 2012, Sculpture, 37 x 52 x 35 cm

cultural significance within Turkey, it is considered the embodiment of perfection and beauty. My forms reflect the quality of the tulip, both metaphorically and physically. Just as the rock brings strength into my works so the tulip evokes a fragile and ephemeral state. What is your favourite film of all time? Dead Poets Society The Shawshank Redemption Amelie What music are you currently listening to and why? During the day, while I am doing the computer works, I prefer to listen 80s and 90s from all over the world which gives me some energies from the past. While I am making my pots, mostly I prefer to listen something from my own culture such as traditional Turkish Music or Turkish Folk which helps me about my creative making process. Which living artists do you most admire and why?

All of my work is about my feelings and emotions. To be able to communicate, I have to explore my feeling to the audience as well as to myself. As a pinch potter, my hands are working with my mind as well as my feelings and emotions. When I am making my pots, first of all I am looking to myself, trying to understand my identity, my culture, my relationship with the world. The other inspiration of my work is nature. Especially the Earth as rocks and strata. While I am making, I prefer to just feel and go deep and deep to explore these feelings. What / who inspired you to be an artist? ‘Clay’ as an amazing material to work with and my tutor sculptor Gwen Heeney Can you tell us about where you make your art and what if any the significance of this location is? I used to work in the studio in the university. Since I finished my MA, I prefer to work in my room. I can say I am living and thinking about ceramics 24 hours a day. It is amazing. What do you like most about being an artist?

Gwen Heeney Magdalene Odundo Michael Eden

To look through my own personality deeply and find the hidden freedom in there.

Which deceased artist do you most admire and why?

What is your greatest achievement as an artist to date?

Louise Bourgeois

To be able to come over to the UK and complete my MA in Ceramics.

Which exhibition that you have visited made the greatest impact on you and why? Louise Bourgeois: The Return of the Repressed in The Freud Museum. What is the question you get asked most frequently about your work and how do you answer it? ‘What are your works about?’

What are your plans for the coming year? I am planing to set up a business which is going to include Ceramics and Design in the UK. Display my work in ‘One Year On’, New Designers, 2013 in Business Centre, London, Display my work in ‘Art in Clay’, 2013 in Hatfield.



LUMINOSITY NO. 12, 2012, sculpture, 8.3 x 30.8 x 30.8 cm, £525.00

Can you tell me more about the process of your work? Each of the engobe tones were ball milled to finely grind the combination of clay, stain and flux in water. This was in order to eliminate the appearance of speckles and to obtain the fine quality of the surface. This fine surface also has the effect of aiding in protecting the work from dust and air particles. The works are remarkably refined and have been developed over years of professional practice. Each piece is made by hand and patience and time are key components in achieving the degree of precession in the modelling and the painting of bands, but also in the artworks aesthetic effects. The subtly of the surfaces visual qualities is achieved through my artistic sensibilities and my ‘touch’ as I work painstakingly on the wheel. I must also as I work keep in mind the various technicalities necessary to bring the vibrant and dynamic shapes, forms and illusions to life.

I create the majority of my works mainly by wheel-throwing and applying the eighteen tones of engobes onto the surface by brushing. The eighteen tones range from light; white to very dark almost blacks. The tones are made by adding black stain into the basic engobes. In general approximately 8% black stain can create very dark tones in certain temperatures which means it is difficult to get the variation of tones in this short range from 0% to 8%. Thus, I stretched this narrow range wider by adding 50% of black stain; this allows me to create more variation of tones. This also needs to have the right firing temperature; through experiments this temperature has been set at 1120ºC and with the addition of the correct percentage of black stains, the gradation of tones can be achieved. White earthenware is essential to this firing temperature as it gives a lower percent of shrinkage in the firing.


LUMINOSITY NO. 14, 2012, sculpture, 7.4 x 29 x 29 cm, £495.00

What have you learnt about the qualities of the medium itself, through experimenting with techniques and tonal variations? The selection or the right materials is really important to make artworks without damaging or loss from the firing or making process. Experimenting with techniques and materials are necessary in ceramics, even if buying commercial ‘ready-made’ materials. Working with ceramic materials, there are always risks of failure through the process of making which mostly arises from firing. Sometimes this can be frustrating due to the loss of time and precious artworks being destroyed. Every single experiment takes time and lots of dedication with every effort put into to getting each stage of the process exactly right. Nevertheless this is exactly why I really like ceramics. Discovering new techniques and illusory property, experimenting and exploring those for the new development are fascinating practical process to create artworks. It was difficult to create eighteen tones with a nice gradation from light to dark while also keeping the surface matt. The right temperature and amount

of black stain for the gradation were crucial for the creation of illusory spatial phenomena. The clay that I use is necessary to be smooth for precise turning with tools and a clean surface to get quality of tonal bands. I also needed to fire lower temperature to gain matt surface with eighteen tones. Therefore, the clay ‘LF earthenware’ from Valentine Ltd can deliver those necessities with adequate strength for throwing tall cylinder. What is your favourite film of all time? I like watching Fantasy and action movies. The Lord of the Ring is my favourite film ever. What music are you currently listening to and why? I normally listen to Korean pop music. Which living artists do you most admire and why? I admire Duncan Ayscough as a teacher, ceramicist and friend. He always listens to the students and gives very knowledgeable advice. He keeps making his artwork despite the fact that he is

DegreeART inFOCUS busy with teaching full-time. Regarding his work, it is fascinating. It has a perfect technique and freedom in form and surface decoration which is unique and inspirational. He is a terrific mentor and I aspire to his standards. Which deceased artist do you most admire and why? I like Hans Coper’s work and his working style. His own style he explored in significant and unmatched depth rather than focus on a diverse range of styles. His work has a powerful presence with simple forms and a monochrome surface. Which exhibition that you have visited made the greatest impact on you and why? Collect (High profiled international art fair for contemporary object opens at Saatchi gallery) show impacted upon my practice greatly due to its diversity and the high quality of exhibited artworks. I toured the galleries several times during my stay to explore and further understand the artworks on display. It is an exhibition I want to exhibit at in the near future. What is the question you get asked most frequently about your work and how do you answer it? I frequently get asked technical questions like, how I make the precise bands on the surface of ceramic artwork. When I tell them that I use my hand with a brush to make the bands, they are very surprised. People also ask in wonderment whether they are looking at reality or an illusion and to answer this question they want to touch the surface of the artwork. What / who inspired you to be an artist? Vincent McGrath was the head of Art School when I was a student at the University of Tasmania. He gave me the opportunity to enter art school. He was a great mentor and led me on the right direction for my artworks and my future career as a ceramic artist and teacher. Can you tell us about where you make your art and what if any the significance of this location is?

I work in Fireworks Clay Studios located in Cardiff. Fireworks was established in 1995 and has grown in reputation in the UK and internationally. I began to work there in 2011 as one of the Graduate residents and now continue to work as a member. Fireworks gives me opportunities for professional development and I also get valuable career advice from the other established members. Fireworks is equipped with all facilities for making ceramic works such as kilns, wet-back spraying systems, a compressor and photography studio. What do you like most about being an artist? The one thing I love the most being an artist is that I am doing what I really love. I go to the studio every morning full of expectation and excitement thinking about what I am going to do. I like developing an idea in a creative way through exploring or experimenting. I also love solving problems encountered during the process of making even though it sometimes takes a long time and can be a difficult process. What is your greatest achievement as an artist to date? I concentrated on making artworks without considering the right market for my works. Finding the right market, managing timescale, working with galleries are more difficult for me. But now I think I have more confidence and found the direction and the right market through trial and error. What are your plans for the coming year? I am planning to develop my artworks further both in terms of methods of making by exploring with diverse experiments. I want to express my ideas using more methods and materials



Within your work there is a strong narrative, where do you reference and get your inspiration for your drawings? Yes I always start the process with an idea in mind, then after that I use various references, and rework them to help create the image that I want. I want to capture real texture and tone as much as possible. What would you like your work to convey to the viewer? A sense of curiosity and wonder. I love surrealism, so I think I tend to have an element of that within my work as well. I want people to be able to stop and look at my work, for it to tell them a story, and to feel empathy for the characters and subject matter.

RAVEN’S REVENGE - Print, 2011, 40 x 40 cm, £70.00


What draws you to capture the innocent world of childhood? I love vintage children's books. They're charming, but even then the children were portrayed as idyllic and innocent. I think that my series 'Kids With Guns' wanted to capture a sense of reality and portray a side of youth culture that is, sadly, happening. I love capturing something so beautiful and contrast it with something a little darker. How do you sustain your practice as an artist? I keep drawing. At the moment I've been working on a lot of commissions, so the work I'm creating is not so personal. It's always important to try and do my own work though.

LM20 £20 OFF

MY DEAR - Print 2011, 42 x 29.7 x 0.1 cm £80.00

Since graduating, how would you say your practice has developed? I studied Fashion Communication at Central Saint Martins so it was only once I graduated that I started illustrating. I would say that my work has developed quite a lot. I would say that myself as artist has developed if not more, in terms of confidence and knowing what sort of illustrations I want. You never stop learning though! What are you currently working on? I'm working on a children's book for Penguin at the moment. It's my third book I've illustrated this year, so I can't wait to see them all in print... I love (picture) books and having a book full of my illustrations is very exciting!

RABBITS AGAINST MAGIC - Print 2011, 42 x 29.7 x 0.1 cm £80.00

I've also worked on smaller projects such as designing vintage style tins for a Tearoom in Paris, and illustrating a website for a jewellery designer. What is your favourite film of all time? That's a difficult one. I'll go with one of favourites that I watched again most recently. Leon What music are you currently listening to and why? Right now, I'm listening to the new Bon Iver album. On the whole I listen to a lot of 60's/70's rock, and new folk. The 60's was a great time for music! But I think I like discovering new


LAUREN MORTIMER: Gun Bunny - Print, 2011, A3 in Size, £80.00

DegreeART inFOCUS bands from today. Which living artists do you most admire and why? Emily Winfield Martin has a series of paintings and drawings 'Lost On The Midway', which depicts an imaginary carnival, which I absolutely love. She created a world filled with oddities, eerie-green skies, but with that a gentle loveliness. She also has a 'Twin' painting and conjoined twin dolls which is what drew me to her work to begin with. I'm a twin, so I tend to be fascinated by twin things in general. I also received a Marcel Dzama book as a present last year and have been obsessed with his work ever since. The narrative and dark undercurrents in his work are something that I find quite beautiful.

BE BOMB DE LULA - Print, 2010, 30.5 x 30.5 cm £70.00

Which deceased artist do you most admire and why? Henry Darger. Not only is his work stunning, he also had an extraordinary life. He was very insular, working as a janitor during the day, and doing his art at night. It was only when he died that people discovered he was an artist, creating hundreds of drawings and collages at home that he didn't share with anyone else. Which exhibition that you have visited made the greatest impact on you and why?

HULU HOOPS - Print 2010, 30.5 x 30.5 cm £70.00

I loved The Surreal House exhibition that was on at the Barbican last year. I love Surrealism, and I thought that it was curated really well. I came out feeling utterly inspired, so much so that I went back and saw it again. It had a such a variety of works by artists, old and contemporary, from Magritte to Joseph Cornell and Jan Švankmajer, to Louise Bourgeois. What is the question you get asked most frequently about your work and how do you answer it? I think that when people see my work, it takes them a while to notice how subtly dark it can

GERMAN MINE - Print 2011, 30.5 x 30.5 cm £70.00

LM20 £20 OFF

BEAR WITH ME - Print 2012, 42 x 29.7 x 0.1 cm £80.00


ON THE RADAR - Print 2011, 42 x 29.7 x 0 cm ÂŁ80.00

be. I think it can either make people laugh, or feel quite touched by it. I think the most difficult question to answer is why I make the art that I do. Part of me does it very subconsciously, and it's just the things that I am intrigued by, whether it be a great image, or a concept. I don't like to overthink my ideas.

that I'm fully freelance it's important that I interact with other people, otherwise it can drive you a little mad not talking to anyone else all day. It's good to be inspired and learn from other illustrators.

What / who inspired you to be an artist?

I really love what I do, and it makes me happy. I always feel very fortunate to be able to draw and make it into my career. I know that if I was in an office job 9-5, it would make me miserable.

I remember drawing from a very early age. I was so young that I was completely unaware of other artists. I remember my art teacher at primary school telling me that she thought I was very talented at drawing. She was my first inspiration, and she really encouraged me to carry on and explore art and ideas. Can you tell us about where you make your art and what if any the significance of this location is? I work from my studio in Dalston. It's a great studio full of illustrators and designers. Now

What do you like most about being an artist?

What is your greatest achievement as an artist to date? I think for me it was when I sold my first piece of art. I like my art, but if someone else loves it too and is willing to pay to have it on their wall, it makes it all worthwhile. Illustrating my two books for Penguin publishers has also been my greatest achievement. One great achievement helps you move on to the next one.

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A LITTLE BOY LOST - Print 2011, 42 x 29.7 x 0 cm £80.00

What are your plans for the coming year? My plans for 2013... I want to create more of my own personal work again, as well as commissions. I've had a great year this year as an illustrator, and I feel very lucky to have achieved my goal from last year. I want to grow more as an artist, and maybe try a bit of screen printing. I've got printing facilities in my studio, so I'm going to try and create some big scale work with that. The pencil will never leave me though. We're best friends!

VIDEO KILLED THE RADIO STAR - Print 2011, 42 x 29.7 cm £80.00



LAURA FISHMAN Firstly, could you tell me a little about how your interest in paint began? I suppose I have my mother to thank for that - My first memory of paint began when I was around four years old when she gave me my first paint set. Since then I have always had a passion for exploring any kind of paint I can get my hands on. Currently, I am focused on the materiality of acrylics and what different things I can do with it depending on the mediums you use. I understand you founded, Creative Drawing Studio in 2000. How important do you think it is, to educate our communities to include creativity within our everyday lives? Art is an important tool for communication - a language that can express ideas that go beyond the boundaries of words and a medium for creative enlightenment. Knowledge of the arts is a vital foundation for an open-minded society in our continually changing and complex world. And, do you think there has been a change in attitude or opinion towards art, and artists in our current financial climate? Yes - definitely. That’s what art is all about. Art is affected by everything, otherwise it wouldn’t be art. I have especially taken a liking to your pieces, ‘Bloom’ and ‘Patch’, reminding me of the energy and sense of freedom Jean-Michel Basquiat’s paintings exude. Are there many artists who influence you, or do you have a select few?

POUR INSIDE-OUT, 2012, Acrylic on Wood, 30 x 30 x 4 cm £675.00

There are so many artists that I look at, and it changes all the time as the list grows. A few to name that I am influenced by at the moment are Diana Molzan, Tina Jenkins, Varda Caivano, Linda Bengalis, Shane Bradford and Stefan Gritsch. As I work in the studio, I am constantly going through references of other artists who have come before me and paved the way. Do you find that your creative process is quite rapid, or do you spend a considerable length of time considering a project and planning the pieces in great detail before you get started? I’m quite prolific and exploratory in my process, working on several pieces and series at a time, as some of these works take weeks

OBSTRUCTED POUR, 2012, Acrylic on Wood, 30 x 37 x 6.5 cm £950.00

to form and months to be completed. Many of my works start as studio experiments, somewhat random or even accidental. Because of this I create a variety of opportunities to explore specific ideas in more depth. I have set myself a brief to make work that includes two and three dimensions, focusing on paint. Within this brief I spend a considerable length of time planning pieces, experimenting with new ideas along the way. It’s impossible to plan the results in too much detail beforehand. There is a point when I have to let paint and gravity do what it does naturally. There is always an element of surprise in working this way - which is what make these works so exciting. I feel like your work, and especially your lat-

POUR THROUGH HOLES (RED), 2012, Acrylic on Wood, 43 x 20 x 6 cm £725.00


DRIPPED POUR, 2012, Acrylic on Wood, 30 x 30 x 21.5 cm £1,350.00

POUR THROUGH HOLES (ORANGE & BLACK), 2012, Acrylic on Wood, 30 x 37 x 7 cm, £725.00


PINK & GREEN POUR, 2012, Acrylic on Wood, 32 x 31 x 6.5 cm, £1,200.00


POUR NO.4, 2012 Acrylic on Wood, 38 x 38 x 3 cm, £695.00

est pieces such as ‘Pour Inside-Out’ and your ‘Pyramid’ and ‘Rectangular’ series urges the viewer to question the notion of painting, how we normally consider painting for example, to be on a flat surface. I wonder if this was this your intention, to encourage these questions to be discussed? It is definitely my intention to question the notion and evolution of painting. I have always been a painter and by making objects out of paint I can push the traditional boundaries of painting. Acrylic is very ‘plastic’ and as I manipulate it, new ideas emerge. Working beyond two dimensions is an opportunity to explore paint on another level with the excitement that it could transform into something amazing.

What inspired you to move into exploring clay, and do you prefer it from working on canvas? I work in clay from time to time to complement my painting. There is something about creating an object from the earth that is very spiritual as well as grounding. As I am ‘paintcentric’, I can’t say I prefer it to painting, but I do believe it supports my practice. If you weren’t making art, what would you be doing? If I weren’t making art, I would be a country blues singer.

Lastly, could you tell me which of your works of art are your favourite and why? One of my favourite pieces is ‘Painting with Folds’. This piece came about serendipitously. While I was handling one of my large pours, it folded onto itself, and when that happens, there is no way for it to become unstuck. It was a magical moment - and ‘Painting with Folds’ was born. I also love one of my latest pieces, ‘Obstructed Pour’, because of its multi-levels which include the integration of my layered half-spheres to change the boundary conditions of the paint flow. A few more to name are ‘Pour-rugated’ - as it keeps the viewer guessing and ‘Cordial’ for its sublime colour and energy.

ISOBEL BEAUCHAMP TOP ‘WINTERSCAPES’ Isobel beauchamp’s ‘TOP PICKS’ this month explore the ethereal an atmospheric beauty that can be captured within a bleak landscape. Loose yourself within this seasonal selection of works.






1. MARIA KJARTANS, Laundry, 2006, Limited Edition Print, 50 x 40 x 0 cm £450.00 2. LILA ZOTOU, Winter Like Powdered Sugar #5 2012, Photography, 15 x 15 x 1 cm, £28.00 3. ALEX ARNELL, Chair, 2010 Acrylic on canvas, 25 x 30 x 2 cm £190.00 4. ALEX ARNELL, Snowscape, 2012 Acrylic on canvas, 30 x 30 x 3 cm £220.00 5. AMELIA HUMBER, Speybridge, 2010 70 x 70 x 10 cm





6. MARIA KJARTANS, Particurlarly Tidy, 2006 C-Type Photographic Print, 83.3 x 60.3 cm £700.00 7. LILA ZOTOU, Winter like Powdered Sugar #3 2012, Photography, 15 x 15 x 1 cm, £28.00 8. LILA ZOTOU, Winter like Powdered Sugar #8 2012, Photography, 15 x 15 x 1 cm, £28.00 9. ALEX ARNELL, Road Side, Stormy Sky, 2010, Acrylic on Board, 40 x 34 x 3 cm £220.00 10. MARIA KJARTANS, A Sense of Solitude, 2011 C-Type Photographic Print, 30 x 40 cm £550.00



ANNEKA’S ROUND-UP OF NEW ARTISTS & ART Anneka Soobhany selects her favourite NEW ARTWORKS that have been uploaded to the website. To check out more works visit the NEW ART section.

VICTORIA HORKAN: The Bluebird and Butterfly House 2012, Painting,100 x 100 x 5 cm £2,400.00

ISABEL MOSELEY: Line Drawing I 2012, Drawing, 52 x 42 x 3.5 cm £95.00

ALISON JOHNSON: Descend and Beyond 2012, Oil Painting, 90 x 170 x 4 cm £2,200.00

MATTHEW SPENCER: Trees, 2011, Hand cut MDF, 122 x 122 x 1.8 cm £2,950

JANA EMBUREY: Long Alley, 2010, Painting, 17.5 x 17.5 x 0.2 cm £185.00


SUBASH THEBE: Étude Op. 22 No. 2, 2012, Oil Painting on ready made frame, 28.5 x 33.5 x 3 cm £200.00

JOSEPH FALCONER: Polar Bear, 2012, Painting, 60 x 70 x 1.5 cm £770.00

RAJPAR SHAH: Louise 1, 2 From the series ‘Where yo

2011, Painting, 76 x 61 x 1.5 cm ou end’ 2011, £500.00

EMMA JANE ROBINSON: ‘All wild swans in England are the property of the queen who has an official swan keeper’ 2012, Limited Edition Print, 25.4 x 20.8 cm £70.00

BETHE CREWS: Sharpless 2-106, 2012, Painting, 210 x 360 x 8 cm £3,500.00



MIRRA BIRKINOVITCH Central Saint Martins College of Art and Design (Fashion History & Theory / 2013)

BETHE CREWS Bath Spa University (BA Fine Art Painting / 2012)

SHAZ FARD Other (BA in Fine Art / 2012)

GIULIA QUARESIMA University of Pisa, Italy (History of Contemporary Art (MA) / 2012)

MARK BEATTIE (Kingston University (MA European Arts Practice / 2012)

NORA PEINZGER (Academie de Lei in Leuvan (Artist & Portrait Photographer / 2012)

TINA GIBBARD Chelsea College of Art And Design (Postgraduate Diploma in Fine Art / 2010)



You have been given the opportunity to work and live in Singapore, what will you be doing whilst you are there? I am creating a whole new body of work, through which I intend to challenge my artistic process, exploring new ideas and directions. When my plane first touched down, I had a plan, but no real idea of the course my artwork would take - I had to allow that openendedness even though I felt a little unanchored. As I entered Singapore, one of the first things I saw was the mesmerising kinetic rain sculpture commissioned especially for Changi Airport, and I felt much more at home. Embedding myself in this unfamiliar place is of course introducing me to a fantastic array of new people, cultures and concepts - all

of which are slowly infusing into the creative process. I am also writing about South East Asian art for the art journals and platforms that exist here, a subject which not many western writers have written about from the ground yet. I am quite active in the arts, and my practice is always influenced by my other interactions with creatives and writers. This year I have set up the UAL Alumni network in Singapore with co-founder Andrea Fam, and in 2013 I am setting up an online platform for art critics and artists to collaborate in Singapore. What discoveries have you made so far about the South East Asian art scene? It is fascinating to be in a world where the definitions and complexities of contemporary art are still developing. Existing over the last

NICOLA ANTHONY in her studio in Singapore

10-20 years, it is a relatively new phenomenon as opposed to say the last 50 years in the West. Singapore itself is an extremely contemporary culture, but it is clear that it is based on different histories, cultures and foundations than those I am familiar with. These seep through, both in day to day life and in the arts. If we feel that things have transformed quickly in the West, it is nothing compared to the East, where the speed of change over the last century is beyond anything experienced by preceding generations. Historically, the rich cultures and geographies of the region have been the passageway between East and West. This resulted in a desire to transform and adjust, coupled with responses of resistance to a process of rapid modernisation that can feel like a loss

of conventions. A balance has been sought between tradition and modernity; cosmopolitan and local; Asian and Western. It is a time in which many different versions and perceptions of the world exist - where there are complex intersections of the past, the present, and multiple versions of traditions, identities and cultures. Artists are creating work about this time of flux whilst also living within it. How can locational context influence and inspire an artist to develop their practice? The most exciting artists I have seen so far in South East Asia have used their complex histories and contexts to cultivate a tight connection between art and life, creating art that goes beneath the surface. With both Asian blood and British blood in


my veins, I am often dealing with versions of these complexities in myself. Although my own work does not address this directly, it has recently examined personal and historical narratives, as well as explored the mapping of meaning, identifiers and signifiers - the connections and communications between people and cultures. For me personally, changing my location has always brought new inspiration and perspective on the themes I investigate through my work, and this will be no exception. As I'm sure you can tell, there is so much here that inspires, and there is also a whole new visual vocabulary that comes with changing your locational context - in the landscapes, cityscapes, architecture, flora and fauna of Singapore and the diverse countries in the region. What advice would you offer to artists relocating their studio space? With all its inspirations and new perspectives, relocation also comes with inherent change. Some thrive on this change, other creatives need to feel 'at home' in themselves for creativity to flow. It was important for me to anticipate this and make sure the environment was right to continue my artistic practice without taking too long to adjust. I am lucky in that I have strong connections still with London and the projects I am working on there. This has made the transition smoother for me although it has also been a challenge at times! I think artists should be mindful to allow themselves time to adjust and to recognise that this is needed. On a logistical note - It takes a long time to pack up a studio! Things don't fit into neatly labelled boxes like when packing up a house - if I had labelled my boxes, I think they would have included 'Date stamps (modern and vintage)', 'Found objects (misc)', 'Found textures (from magazines, rubbings

and maps)', 'old brushes (that I can't bear to part with)', 'sparkly things and gold leaf (the magpie box)'. In terms of finding a new studio - do your research first. I knew that having to spend time studio hunting in the first weeks or months of being here would have stifled my creativity. Luckily I was in touch with artists in Singapore before I relocated, and many of them explained the common practice of converting spaces to studios. My research told me it would be difficult to get an existing artist's studio, given that the National Arts Council funded studios are not available to nonSingaporean artists. Being part of an artist network is important to me, so my studio was born in a lovely live-work space just next door to Telok Kurau Studios - an artist village and arts housing project of the National Arts Council. Can you give us an insight into what you are focusing on within your work? Whilst I am still exploring ideas of connections, languages and mapping, I am starting to think more about the creative process itself, and some pieces have begun focusing on this as a subject matter. I am also hoping to work bigger here, and I am looking into using spaces to create installations and interactive artworks. I have been influenced by the idea of the 'Kampong', or village. Whilst Singapore is now a sprawling metropolis, like many cities it began as a collection of villages, and the roots and traditions still exist, either in their projection through into contemporary culture, or in their absence and felt loss. This is even more apparent in surrounding countries in South East Asia. My recent explorations draw parallels between the obsessive nature of the intricate artworks I make - usually composed of multiples and repeated

NIcola Anthony’s studio - Money research for the dissected money series


elements that comprise a whole - and the concepts of rituals, mantras, performances or actions which repeat to form tradition and stem from traditional rural life.

of social glue ‘harmonising’ rather than being confrontational which we are used to in the West. What can we learn from this type of approach?

Your practice is very much concerned with language communication and cultural shifts how do you think this will develop whilst being based in Singapore?

Yes, this actually is one of the social shifts I have written about - the 'harmonising' approach is one which has been left behind in many places in South East Asia. It is the nature of the beginnings of art - to record, provide beauty, preserve history, and help people understand each other. However, in any culture, soon the artists want to explore challenging issues through their practice not just the beauty of the world, but its hardships as well. In my blog I have discussed the changes that have happened in Singapore and the South East Asian art scene - which

Other than physical shifts like the Kampong to the contemporary, I am also looking at old and new languages. I am fascinated by the unfamiliar words, scripts and characters I am surrounded by here. I am also keen to contrast this with other new languages and terminologies that are emerging, such as specialist lexicons that develop around a sport, or the language of social media with its formation of new words and meanings such as 'unlike'. In an act of forming my own new meaning, identifier and signifier, I am embarking on a project to translate my name into Chinese. Many artists here with Chinese ancestry have a stamp which they use to sign artworks. Given the prevalence of the use of the stamp as a way of mark making in my drawings, it will be interesting to get my own stamp made. It will also be a special signature that will adorn only the artworks I make during my time in Asia. Given that there is no direct translation for my name, there are many different meanings and versions to be explored - an interesting process in itself. I am also very lucky to be able to travel and explore the differences between cultures - so far I have spent time in Indonesia, and next year I have field trips planned for Malaysia and Cambodia. Additionally I hope to visit many of the art hub cities in the region.

In your blog you talk of art acting as a type

MNEME, 2011, Limited Edition Print, 80 x 62 x 5 cm ÂŁ500.00

CASH CAN'T BRING LOVE, Limited Edition Print, 2012, 40 x 100 x 0 cm ÂŁ400.00

has become much more open and expressive in recent years, where artists are now being given the freedom to confront issues. I think we can learn that to do something new and different is always a challenge. It is fantastic to see the art world opening up, but it has also made me think about different cultures and diverse sensitivities towards issues such as religion, nudity, and sexuality. In the west we are often numb to these issues, unruffled by harrowing or crude images due to over exposure or perhaps a wall of distance between us, and that also is not always a good thing. Having said that, I am exhibiting in a group

show at Guerilla Galleries called '100% nude' this January in London - but I am pleased to confirm my contribution is a drawing, not a performance piece!



‘Fragmented Freedom III’ - Triptych (Commission) by Louise McNaught, Year created: 2012, Medium: Painting, Size (H x W x D): 60 x 200 x 4 cm

Since Art History began, commissioning has been a fundamental element in the creation of masterpieces and the establishment and maintenance of great artistic careers. From Michelangelo to Lucien Freud, artists’ best recognised works are often works that were created alongside financial backers or commissioners. We are asked by clients regularly if an artist minds being commissioned and if it is appropriate even to consider putting such a request to an artist whose work is admired. The fear seems to be that it may be seen as trying to direct the artists’ creativity. Our response is always no! Artists need patrons and patrons often come in the guise of commissioners. Commissioning art is how artists have traditionally funded their careers and often allows them to explore ideas and processes they would not be able to do without the guidance and backing of a commissioner. Of course, some artists do not complete commissions but, most relish the opportunity and

far from considering these as diversions from their daily practice, view it as an important element informing their direction as well as providing financial security that allows them to continue producing art. Often people assume that you can only commission portraits, but virtually all artists' can create personalised pieces for clients including landscapes, animal and abstracts. I know that for me, commissioning a piece of art provides me with something that has that extra special element to enjoy each time I look at and admire it. This eco-system results in not only successful artists careers but your commission gaining in value as the artist develops. THE DEGEEART TEN RULES OF COMMISSIONING: Be honest and open with the artist about what you want and importantly what you do not want.

Look through their body of work and identify in writing what you admire and hope to see in your commission.

Understand what is the ‘point of no return’ within the piece so that you do not request changes

Agree in writing the size the piece will be, materials that will be used and of course the budget before the commission is begun.

Understand that whilst the artist must listen to your requirements, that allowing them to input and bring elements of what is important about their work is fundamental for a successful commission.

You are paying for the commission and the artist is dedicating their time to the creation of a piece specifically for you. Pay in two instalments, the first will allow the artist to purchase materials and cover other costs and the second and final payment ensures you receive a piece you will love. Ensure that you can view the work whilst it is in progress and pre agree these time slots – we recommend viewing the work at the early preparatory stage and then again at the half way point. Talk to the artist or gallery during the process so that you know how the work is progressing

Aim to create a piece with the artist that will form a part of their greater body of work. Attempts to force an artist to create something that is not their style will only end in disappointment. Remember this is art and that the image you have in your head may not be what you end up with but follow the above and you will be more than pleased with the finished piece! Finally, always ask for the piece to be personalised/ dedicated to you or the intended owner. This can be done on the actual piece, or on the Certificate of Authenticity. This adds


Lover’s in Transit, Private Commission by Andrea Tyrimos

provenance and in years to come will prove the role you played in the artist’s career development. A RECENT CLIENT COMMISSION EXPERIENCE: WHAT THE CLIENT SAID: “I would like a painting which captures the fleeting nature of life. A scene at the airport would depict this perfectly. Especially with the flux of people, it portrays the loneliness which breeds in a large unfamiliar, transient crowd. At the same time, there is calm/peace/ hope in the airport because everyone has a next destination to look forward to. This painting ought to narrate the metaphor of positive changes that is in stored and the journey to discover better/greater things in life. From browsing DegreeArt’s website to the moment the painting was hung on the wall today, It has been a novel and amazing journey. Sometimes it is not about the visual aspect of

the art, but the people and story behind it. I told you I don’t know much about art, But I DO know what I like and I am looking at it now”. Read more from NickThat WHAT THE ARTIST SAID: 'The scene perfectly fits in with my usual nocturnal urban scenes and adds another element with the sense of emptiness coupled with the architectural linear lines. The sky outside the large window on the left is quite impressionistic to enhance the feel of a more hazy and distant light. The human figures are also quite ambiguous to allow viewer to conjure up their own story of ‘who they are, why they are there, where they are going to etc ‘. There are very few figures to underline the sense of a non-place and transitional space. I have tried to heighten the feel of a modern yet romantic scene, a world completely saturated with neon light, whilst still remaining beautiful, romantic and transient.’ View Andrea Tyrimos' profile

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