edge-zine 9 Inside

Is su Issu . en on en i t i o. 8 o. 9 - Spring ed . io n - Autu mn edit

Inside 1

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Please note: Readers may find some of the themes covered in this issue upsetting

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Front Cover Art: Part of Prisoner’s Cinema

by Steve Cussons

CONTENTS

Back Cover Art: ‘Remains (dust)’, 2018 Provided by Beverley Duckworth

Disclaimer: Despite careful control of the contents, we assume no liability for the content itself or of any external links. The operators of each interlinked site are exclusively responsible for the respective contents.

Copyright: We hold no claim or credits for images, texts or other materials featured on our sites or publications. Unless otherwise indicated, all materials on these pages are copyrighted to the respective owner and artist. No part of the material published on our site or publications, either text or images may be used for any purpose other than personal use, unless explicit authorization is given by the stated owner. Therefore reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means - electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

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Editors Notes

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Tutor Thoughts: Ten Ways of Looking at ‘Inside - Vicky MacKenzie

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Raising dust - Beverley Duckworth

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Inside edge Collective

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Thoughts on a sample - Inger Inanna Weidema

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Untitled - Tanya Thomas

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Worms and wisdom in the mud - Anna Goodchild

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Consumerism or Identity - Adelina Gelu

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Prisoner’s Cinema - Steve Cussons

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Where it all happens... - Hugh Hadfield

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Homemade - Anna Pike

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Assemblages of found Objects - Mini Arora

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Self-portrait - Therese Livonne

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Untitled - Renate Maas

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Migraine Cycle - Sarah Davis

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Inside - Michael Green

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YOUR LOCKDOWN MESSAGES www.edge-zine.com

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Editor’s note: Our theme was chosen before the end of 2019 and Inside seems so prophetic now that many of us are spending most of our time indoors due to Coronavirus restrictions. It has been written that we are all equal under the threat of this virus but I, for one, disbelieve this. The weak, vulnerable, poor and those living at close quarters are least able to protect themselves and, certainly, here in the UK no one can now dispute the extent to which our NHS and public services have been undermined year on year by imposed austerity measures. Even so, hospital staff are working beyond their duty, risking their own health to take care of ours whilst others maintain essential services on our behalf. It’s been heart-warming also to see communities coming together and supporting those who need it.

As perceptions of our world and our place have been thrown apart at the same time our digital networks are enabling people to keep in touch and come together in new ways. The values of art and creativity are coming to the fore and artists themselves are finding new strategies during this lockdown to connect, perform, teach and stimulate.

In this respect, our ‘Tutor Thoughts’ from Vicky MacKenzie, are so relevant with her Ten Ways of Looking at ‘Inside’. Viewing our submissions, created before the crisis, I can see examples of most of them and have reflected on the transformative ways in which art can be used to meet challenges and reach across boundaries. As Helen Rosemier, member of the new collaboration Inside/Edge Collective poetically writes, “The inside spills to the outside and takes root and the weeds of our heart grow everywhere”.

Our cover comes from the work of Steve Cussons on her project Prisoner’s Cinema, which meets with Vicky Mackenzie’s fifth way of looking at ‘inside’ – how ideas can come from inside or outside as influences and personal responses flow and coalesce to create vibrant new work.

Through Raising Dust our commissioned artist Beverley Duckworth uses her own skin as evidence for what goes on inside of us, using a forensic examination of the contents of her vacuum cleaner from which she creates unusual art.

We have been impressed by the talent and variety of all the artist submissions and hope you gain enjoyment and inspiration from all that you see and read here. In addition, and in recognition of the drastic changes that are occurring at present, we also put out a late call inviting people to upload one image and write a short message to someone they care for but are unable to see at present. Many thanks to team member and our zine designer Amy for suggesting this. Our thoughts are with all of you at this difficult time.

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Imprint: Editors: Stefan J Schaffeld, Catherine Banks, Michael Green Communication: Michael Green Funding: Catherine Banks Design & Layout: Amy-Sarah Opitz Contributors to this issue: Vicky MacKenzie, Beverley Duckworth, Inside edge Collective (Helen Rosemier, Sarah Gallear, Alison, Michael Colvin, Arlene Sharp), Inger Inanna Weidema, Tanya Thomas, Anna Goodchild, Adelina Gelu, Steve Cussons, Hugh Hadfield, Anna Pike, Mini Arora, Sarah Davis, Therese Livonne, Renate Maas, Michael Green Publication is property of the open student collective of edge-zine, 2016-2019 Email: stefan513593@oca.ac.uk Publication platform: www.issuu.com/edge-zine Website: www.edge-zine.com Twitter: https://twitter. com/edgezine Facebook: https://www. facebook/edgezine Instagram: https://www.instagram.com/edgezine

Tutor Thoughts:

By Vicky MacKenzie

Ten Ways of Looking at ‘Inside’

The American poet Wallace Stevens wrote ‘Thirteen Ways of Looking at Blackbird’, a poem that has launched a thousand titles, including my own above. A kaleidoscopic approach to a topic allows for diversity, differenc even contradiction. Here are ten ways of thinking about ‘inside’, the topic this issue of edge-zine.

1.

In Chaim Potok’s novel, The Gift of Asher Lev (Fawcett

Books, 1990), Asher gives a talk on art at his daughter’s school. He begins by drawing three rams on the blackboard. One is a childish representation of a ram; the second has a realistic contour and shading, giving it the appearance of three-dimensionality. The children agree the second ram is somehow ‘better’.

Then Asher draws a third ram: ‘I drew with no shading a line abstraction of a ram, exaggerating the contours of its hindquarters in order to give emphasis to its power, and embellishing the soaring swirl and majesty of its horns.’ He asks the children, ‘Which is the truer ram?’

They conclude the first ram is a child’s way of seeing, the second is closest to the way a camera might see, but the third is an artist’s drawing, which one child suggests is an ‘inside look at the ram’. Asher agrees, explaining that an ‘inside look’ can also be called ‘an interpretation’ (Potok, 1990: 132-3). The third ram is imbued with the artist’s own feelings and way of seeing. Something from the inside of Asher is now outside.

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As a writer, what I find special about using words as my artistic medium is that many of my inner thoughts are formed of words.

In Other Minds: The Octopus and the Evolution of Intelligent Life (William Collins, 2018) Peter Godfrey-Smith writes, ‘When we look inside, most people find a flow of inner speech, a monologue that accompanies much of our conscious life.’ (Godfrey-Smith, 2018: 138) For me, this inner speech is where my writing comes from – amidst the random, rambling commentary, there are ideas, phrase, sentences. I jot them down and poems, stories and novels begin to coalesce. My writing therefore often feels very close to my actual thoughts, and a novel can be a wonderful artform for taking us inside the minds of the characters who seem to share their private thoughts with the reader.

I often wonder if, alongside their verbal thoughts, visual artists are thinking more visually than me, and musicians more aurally?

3.

In 1966 anthropologist Mary Douglas published Purity and Danger: An Analysis of Concepts of Pollution and Taboo. It’s an exploration of dirt in its many different forms and contexts, and she suggests that that what is regarded as dirt in any given society is any kind of matter that’s considered ‘out of place’. Douglas explores the boundaries between what’s clean and what’s unclean and the taboos around these ideas; one of the most interesting sites of taboo and ritual is our own body. The body can be a dangerous and frightening locus because its boundary is porous – things can move between the ‘inside’ and ‘outside’.

4.

In the sci-fi comedy Innerspace (1987), directed by Steven Spielberg, a miniaturisation experiment goes wrong and Tuck, a pilot, is accidentally injected into the body of Jack, a hypochondriac grocery clerk. Jack can hear Tuck’s voice as Tuck explores what is surely the true ‘final frontier’, the inside of our own bodies. www.edge-zine.com

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5.

Do ideas come from inside or outside of us? The Radio 4 series In Our Time has an episode on ‘Originality’ which considers this question. Our ideas about the nature of originality have changed considerably over time, but the notion of the ‘individual genius’ comes from the eighteenth century. Shakespeare, writing in the late sixteenth and early seventeenth centuries, didn’t concern himself with originality and was a notorious magpie of existing stories and characters. He often made something new from what already existed.

Artists are often asked where their ideas come from. I wonder what this question means. Is it asking if ideas come from inside or outside? When the poet Michael Longley was asked about this, he replied, ‘If I knew where poems came from, I’d go there.’

(The Bloodaxe Book of Poetry Quotations ed. Dennis O’Driscoll (2006) pp.7-8)

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To be ‘inside’ can be a way of saying a person is in prison; ‘inside’ represents a curtailment of freedom. To be inside is a form of punishment meted out by society, but a parent or guardian may ‘ground’ a child or send them to their room, also a way of using ‘inside’ as a punishment.

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People often talk of ‘nature’ as if it’s outside of us. We go to the Great Outdoors to ‘connect’ with nature. Yet people are part of nature too, and the dichotomy of nature versus culture easily crumbles if given a little probing. Human beings don’t exist in a vacuum of man-made culture. In fact, we’re not even as completely ‘human’ as we might think, since recent microbiological research suggests that our bodies contain more bacterial cells than ‘human’ cells. https://www.scientificamerican.com/article/strange-but-true-humans-carry-more-bacterial-cells-than-human-ones/

There are so many other ways of thinking about tour of ten ways of thinking about ‘ins 8

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8.

Here’s another dichotomy: the inside is private; the outside is public. Many artists need to create in private, yet at some stage we are likely to turn our thoughts to a potential audience. In his book On Writing: A Memoir of the Craft (Pocket Books, 2000), Stephen King advised: ‘Write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right — as right as you can, anyway — it belongs to anyone who wants to read it.’ (King, 2000: 47).

9.

Being ‘on the inside’, or ‘an insider’ is a privileged position, whether that means being a cabinet minister with the Prime Minister’s ear or a teenager who is part of the ‘in’ crowd. Being an ‘outsider’ can carry connotations of strangeness and loneliness, yet some artists like to identify as outsiders and to utilise the perspective that being an outsider can give them.

On the other hand, how can outsiders understand or represent other communities or individuals? The Irish writer Edna O’Brien recently published her novel, Girl (Faber & Faber, 2019), which tells the story of a Nigerian teenage girl kidnapped by Boko Haram. There’s been a lot of discussion in the reviews about whether this is O’Brien’s story to tell. Perhaps sometimes an ‘insider’ viewpoint is the more valuable one.

10.

What goes in, must come out. An artist needs inspiration and stimulation; they must feed their minds, learn about what others have done, and create in conversation with other artists and art works. In Austin Kleon’s TedTalk, Steal Like an Artist, Kleon quotes Apple co-founder Steve Jobs: ‘Expose yourself to the best things that humans have done, and try to bring those things in to what you’re doing.’

t the concept of ‘inside’; I hope this whistle-stop side’ provides some food for thought. www.edge-zine.com

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Raising Du

By Beverley Duckworth

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n its role as container, skin acts as a barrier or threshold between the b form and what is commonly perceived as the gore of our bloody inside of defense; a protector that tells our life stories through its palimpsest su kles, stretch marks and bruises, as well as being a more immediate ch Whether it is blushing, swea skin brings evidence from the

I suffer from bouts of chronic eczema comfortable in my own skin. Chronic iness which leads to intense scratchin punctured and bleeding. It is like the sk a protector, and the scratching further c inside and outside.

One of the things that really aggravate given that a large proportion of househ my house, I battle to keep dust to a min weapon in this battle. Fragments of m regularly sucked into the stomach of t a repository for my DNA.

I decided to explore the traces of my b vacuum cleaner. I wanted to explore th of my body would be explored in a me dure and medical imaging. This led m of my vacuum cleaner, which takes th the hoover personified as my body (‘ com/260771429).

[Cord, 2018/19]

Through this process I was exploring d tween private and public, and betwee the start of a journey documenting m boundary, and with the dust that it regu

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beauty of the external human es. It is our bodies’ first line urface of visible scars, wrinhronicle of our inner health. ating or erupting in a rash, e inside out.

and when this happens I rarely feel eczema causes overwhelming itchng and results in the skin becoming kin turns against itself – it is no longer compromises the boundary between

es my eczema is dust, which is ironic hold dust is made up of skin cells. In nimum and the vacuum cleaner is my my body – my skin and my hair - are the machine. The vacuum cleaner is

dualities between self and other, been attraction and disgust. It marked my difficult relationship with my body ularly turns into.

[Capsula stills, 2018 (triptych)]

body that were being held within my hem in the same way that the inside edical context using a medical proceme to conduct and film an endoscopy he viewer on a fictional journey into ‘Capsula’ (2018) Link: https://vimeo.

Following the endoscopy, I went on to excavate the contents of my vacuum cleaner and examine them under a microscope. When I opened up the hoover bag, traces of precious memories lay before me. Each piece of debris represented a moment in my family life. People and stories were entwined within the clumps of hair, dust and random objects. It was like time had been collapsed and tangled into one space. Now the space had been opened up again to be examined and remembered, like a photo album or box of precious relics.

I created a series of ‘precious’ sculptures from the contents, placing elements that I found into vintage jewellery boxes. I also made a series of life size ‘skin’ portraits from the household dust, recreating the precarious nature of my body’s surface.

Artists interested in the skin or body boundary often use their own body matter as material for their work. I experience my skin as a traumatic organ and perhaps this is why I decided to explore it when it was no longer part of me - when it was held, in a machine or repository, separate from my body. With the help of an endoscope and a microscope, I could subject my skin to experiment and analysis as the philosophical ‘Other’ or the psychological ‘Not Me’ in a symbolic act of separation between myself and my uncomfortable skin.

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A few months later I returned to the vacuum bag contents again with the intention of documenting the beauty in this discarded matter. I took photographs of the dust and created a mandala, resulting in a work called ‘Remains (dust)’, which forms part of a series of three (the other mandalas were made using discarded hair and skin). For me, the symbolism of the mandala is important because it connects the dust to life and turns the discarded into an item to cherish, challenging us to question what we choose to value.

Beverley will be giving a virtual artist’s talk and tour of ‘Remains (dust)’, ‘Capsula’ and other recent work on: Saturday 2nd May at 11am, which you are warmly welcome to join.

You can sign up to the talk and tour here: https://www.oca-student.com/comms

Inside Collective

Helen Rosemier, Michael M Colvin, Sarah Gallear, Alison McCoy, Arlene Sharp,

Helen on the collaboration:

D

istance learning can be a lonely experience and sometimes the creative process leads us down a blind alley.

Other OCA students have rescued me from that dead end a number of times and committing to a collaboration helps me to keep going when it is much easier to give up. Our Inside Edge Collective was initiated for this iteration of Edge but will hopefully continue and grow for future editions and possibly broader collaborations and exhibitions. All OCA students and alumni are welcome to participate and dip in and out as they wish. I am so impressed with the outcomes from this collaboration. The work that has been produced from both partnerships is clearly symbiotic and and inspiring example of excellent teamwork.

I did not have a partner this time around but was influenced thematically by the discussion with Sarah and Alison about moving home. We talked about those things that get left behind but which you carry in your heart. Sarah mentioned the idea of beloved pets buried in the garden and it really resonated with me. The tiny patch of land around our flat is as intrinsic to my existence as the interior of our home, not least because of our little animal cemetery. The inside spills to the outside and takes root and the weeds of our heart grow everywhere.

Helen Rosemier

Helen on her work:

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Sarah and Alison on the collaboration: Working on the collaboration for Inside Edge was something that was very new to both Alison and I, and it certainly felt like we were finding our feet with this. Luckily when we first met each over the Zoom meeting and started chatting, we had some similar ideas and experiences on what Inside meant.

Our theme was looking at the Inside, specifically the changes when you move house to a new area or town. The physical boundaries of the property acting as both a place of comfort and a reminder of change.

Communication is definitely the key and once we’d had some ideas on what we wanted, we agreed to go away and do some tests. I started simply with just a camera phone photo of the light coming in through my window, capturing the inside and outside but also very much showing we were indoors. Alison and I communicated and shared ideas via email, and we swapped sketches, notes and brainstormed ideas, working from a wider scope down to a more manageable size. One thing to bear in mind is that as a photographer, my work could

be completed much quicker than Alison the process. Working with someone and promises and working with the resource if Alison could produce two pieces of wo hers. I’d taken quite a few and then playe sending them over to Alison for her tho lour palette, although maybe I started th test image over.

The benefits of another pair of eyes revie the images was missing a strong geomet fering lines and shapes in the other work link to the work. I had to wait for the co reshoot the image.

n’s paintings as she had more steps in d doing the collaboration means comes and time we have. We agreed that ork, I could then produce 4 to mirror yed around with different options before oughts. Luckily they matched her cohat off subconsciously after sending the

ewing is that Alison picked up one of tric line or shape within, there were difrks and also in hers which adds another orrect light and weather but managed to

Inside

Collective cont.

Once we were happy with these, I played around with presentations ensuring that they weren’t just two paintings and four photographs on a similar theme but were obviously part of the same work and shared these with the rest of the group.

Having completed one collaboration, it was far easier than I thought it would be and very enjoyable having another person to bounce ideas off and come up with something that’s a meld of two people’s (or more) ideas.

Michael on the collaboration:

Collaborating with painter Arlene Sharp on the ‘Inside’ project has been very enjoyable for me. I have recently gr a first class BA Hons in photography. This has meant, after so many years, a sudden reduction in my study workl given me the impetus to continue making art and engage with OCA students from other disciplines.

Michael on his work:

This issue of Edge Zine has a them tial video hangout Arlene and I de ual piece of art that we would swap work on each other’s piece. I wante how I felt inside and my current th rugged and rural existence as part I discussed these thoughts with Ar finished work in any way that she c

I took two photographs, one a self another a landscape, and digitally out the image and began to cut aw a scalpel while keeping to the outli placed the image over coloured car Arlene with a piece that looked too to further possibilities.

Michael on Arlene’s wor

It was very exciting to receive Arle stract and painted with loose brush I knew that Arlene was interested window and the physical effect tha from her painting a representation light falling on a table. Not having decided to use my prop making ab image and photograph it in a phys strips and referenced some of the m loured with a sharpie. I wanted to construction while maintaining a s some evidence of my process that by leaving visible marks from mov

I have gained a lot from the experi artist and thinking about Arlene’s i Working on a subject that was not it and interpreting it in my own wa

raduated from the OCA with load and a new project has

me of ‘inside’ and during our iniecided to each make an individp over so we could continue to ed to make an image relating to houghts on escaping to a more of my future move to Scotland. rlene and left her to interpret the chooses.

portrait taken in silhouette and combined them. I then printed way sections of the landscape with ine of one side of my head. I then rd. I was conscious not to present o finished so she could open it up

rk:

ene’s painting. Her work is abhstrokes. During our discussion in the aspect of light entering a at had on an interior. I could see n of a window with a tree and the g any painting or drawing skills I bilities to try and deconstruct the sical space. I cut the painting into marks with wooden sticks cocreate a sense of depth in the new sense of the abstract. I also left mirrored Arlene’s pencil marks ving the sticks around.

ience of working with another interests and artistic process. t directed by myself but yet taking ay has been refreshing.

Inside

Collective cont. www.edge-zine.com

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Inside

Collective cont.

Arlene on her work:

The parallel project for my current course observes the effects of changing light on objects through a win I have continued this theme to make an acrylic painting which explores light reflecting on a glass table. I it rough, with pencil markings still visible, I was excited to see what Michael would do with it.

Final thoughts: Michael has transformed my painting; he has brought it back into a 3-dimensional world such an imaginative way whilst still retaining the original concept. Like Michael, I have really valued th collaborative experience. It is so interesting to see my work through someone else’s interpretation; it fee a part of me that’s gone off in a completely different direction.

Arlene on Michael’s work: As Michael has mentioned his image represents his thoughts about his forthcoming relocation to northern Scotland. In his original work, a photo of a silhouetted figure had been cut into, creating landscape shapes, he had then mounted this onto yellow card. The plain card accentuated the contrast between landscape shape and the dark tones of a figure in the interior.

Looking at these cut-out shapes, I envisaged high peaks, rocks and water. I used collage made from castoff painted paper, together with felt pens, to bring the landscape to life through colour and texture.

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I left

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Got a Date ?

LET PEOPLE KNOW !

On this page we want to develop a calendar, where we can list your up coming events and exhibitions.

You can get your date listed by messaging us over facebook or our website website,, make sure to include details such as: date, opening times, location and a small blurb about your event.

Your edge-zine team.

Thoughts on a sample

By Inger Inanna Weidema

I

am inclined to see my studio more as a laboratory and some of my recent ‘experiments’ have involved various forms of transparent glues. I wanted to see if I could use air as a material, being inspired by bubbles frozen in ice.

I envisioned some ‘perfect’ globes, shaped over air-filled balloons.

The results, however, were definitely not as I expected. The glue stuck firmly to the balloons. But when I punctured the balloons, I enjoyed how they imploded into organic shapes. Shapes that I did not foresee and could not control.

One sample in particular has held me captured because of what I discovered inside of it. I recently witnessed a journey inside my own body on a screen in the hospital (to look for a disease). This experience was just as interesting and beautiful, even if very visceral, as this sample. An exploration into an unknown world of a non-Euclidean space. What I enjoy with my fortuitous sample is the hyperbolic curvatures created as the balloon is stretched by the glue. Furthermore, this sample responds to light and shadows in a very dynamic way, as can been seen in the video.

What to make of this?

Well, sometimes wondering at something might be enough. This sample seems to speak quite well from its own serendipitous core. I feel anything I can do to develop or ‘make it better’ is bound to fail, but naturally I am both tempted and challenged. Eg. how could I make this into an immersive experience on a big bodily scale? www.edge-zine.com

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Tanya Thomas

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hese three charcoal drawings are from a series of ten from my first assignment for Studio Practice. They were a response to the first exercise in the course in which I ended up drawing with charcoal to music with closed eyes. Within the random marks that resulted I could see a structure emerging. This was the starting point for the drawings which were of imagined, organic forms. I liked the feeling of intrigue, what are they and what might be inside them? perhaps something hidden may emerge? They could be nests, seed pods or vessels. I used both soft and compressed charcoal on its tip and on its side so that the character of the original willow shows through. I also employed reductive drawing with a plastic eraser.

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Worms and wisdom in the mud

by Anna Goodchild

This work is a product of my research into UK prisons and prisoner identity - my L3 Photography degree project. It is the inside of a red cabbage which is not obvious when you see the cabbage from the outside. The same is true of UK prisons: many people do not know that virtually all prisons use simple / complex therapies to help prisoners on their paths to rehabilitation. One of the therapies is to teach offenders how to grow fruit, flowers and vegetables which is not only a therapeutic practice but also one which extends their skills base. Many people also do not know that the RHS awards an annual trophy to the best prison garden.

I photographed the vegetables, fruit and flowers grown by prisoners on day-release in a disused quarry in LandWorks, Dartington. I then made cyanotype prints of the images on cotton and created a quilt with the 35 selected images. The main challenge I had was that I could only photograph when the prisoners were not there - light was therefore limited and I did not want to use flash. I photographed all the plants in natural light. In the image for this submission, I wanted to create something which was still recognisable but ‘broken’ - the viewer has to piece it together again - or further tear it apart.

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Consumerism or Ide

By Adelina Gelu

S

tarting from the presented images and analyzing few definitions that I found in sources like Oxford Dictionary of Philosophy and Oxford Bibliographies that refer to identity I will analyze some aspects related to the opposition in terminology of consume and identity and all that they accumulate and why from spiritual perspective they are situated at extreme poles.

Hans Sedlmayr describes in Art: The Lost Center how the annihilation of up/down polarity has become in art and later in real life to some phenomena where human being has lost any trace of interior clue that he has got until then.

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entity

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f to consume means in some of translations “to destroy through burn” and if “beauty is only appearance, sensible manifestation of a true idea or moral evidence, it is obvious that it’s true value resides, in essence, somewhere else that in itself – in truth or good that it illustrates ”1 it results that the substance is the only one that in cannot be consumed.

T

hese photographs are a study about this substance more exactly about identity. Even if the appearance is beautiful, made in Andy Warhol style that in this era sells good, the truth behind these photographs resides elsewhere: in the question about “Who am I, regard less everything that exists near me?�

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Prisoner’s Cinema

By Steve Cussons

This series of monotype prints was produced during Printmaking 2, as part of my parallel project looking at the work of Barbara Rae. Over the last few years, I have been walking the coast lines of Jersey and Brittany and have been drawn to, and drawn, the many Neolithic structures which litter those linked, liminal landscapes.

I am fascinated by the carved marks found on these and other sites, especially in Scotland and Ireland. A recurrent suggestion is that these symbols, which include whorls, spirals, zig-zags etc, are representations of entoptic phenomena. These are designs ‘seen’ but originating inside the brain, rather than through the eye, and which are induced by shamanistic practices, meditation, sensory deprivation, psychotropic substances or other ‘mind altering’ experiences. Such designs are found throughout the world in cave and other early art.

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My original intention of responding to Barbara Rae’s work by creating prints of the landscape gradually evolved to consider the history of the use of the landscape and eventually focused on these designs. Creating these prints triggered a memory and I realised that I had in fact seen them myself, years ago, when caving, having switched off my lamp to experience the complete darkness. After a while, I would see these scintillating forms which I now know are termed ‘Prisoner’s Cinema’.

These prints are all monotypes, created by inking a flat plate and working into the ink before taking a single impression. Sometimes a second impression, a ‘ghost’ is possible, giving a different, ethereal feel. Echoes of Rae’s prints persist in this technique of wiped-into, layered monotypes and my use of colour, especially blue.

It feels very strange to have unearthed a long forgotten memory and this project arrived at a destination which I could not have envisaged at its outset. The parallel projects are a wonderful opportunity to work over a longer period of time, allowing ideas to develop in surprising directions.

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Where it all happens...

By Hugh Hadfield

“I started the sketch-a-day challenge on the 1st January; somehow the beginning of a new seemed like a good date. My intention was to complete at least a month.

It’s been an intense experience but incredibly beneficial and rewarding. My rule is that the be produced on the day and published on Instagram.

I’m very interested in urban is direct observational drawi and places. The drawing tec and approach used for this t ing have to cater for working publicly and sometimes very of my daily sketching is of co packed train carriages on th ney into and out of London.

The two images I’ve submitt INSIDE my studio. These we days where I was working fr no commuters).

I quite like the feel of them a they say something about m

External link relating to the work: For urban sketching inspiration: https://www.instagram.com/melre https://www.instagram.com/verol https://www.instagram.com/rajes

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By Anna P

ce made up part of an assignment for my last level 1 module: Understanding Painting Media. The part of the course een following was about exploring the tondo format, using interiors as a focal point. Whilst not something I had e, I enjoyed painting tondos I found the lack of corners quite liberating! During the research process I was very tes’ by Lisa Milroy, (www.lisamilroy.net), a painting of a collection of highly decorated plates. Although the actual as rectangular It dawned on me that it was actually a collection of tondos and made me wonder if you could have a ndos. Her collection of detailed plates reminded me of the details you get in old-fashioned miniature portrait painta bust is completed in very fine detail and displayed in an ornate but miniature frame, often in groups. From this s an easy step sideways to come to the idea of creating a series of miniature tondos with interiors rather than people.

s of deciding what part of ‘interiors’ to paint was more problematic for me, I really don’t find the inside of my house ring. It was only after having spent quite a bit of time standing in various spots looking at the structure of the walls und something that interested me. I found that by standing in my hallway I could turn on the spot 360 degrees ee into several different doorways, each framing a view leading to a different area of the house. It seems logical in ndsight but I hadn’t looked at the doorways as compositional frames for paintings before. They give a view a sense of journey as you want to walk through them. My research into compositions that work in the tondo format suggests that strong vertical or horizontal lines, triangles and spirals all work well. The door frames provided this.

In working up my miniature tondos I chose to paint my interiors on the inside of jar lids collected from my kitchen recycling bin. The scenes are mundane domestic interiors, made more poignant by the fact that they are painted on a throw-away household item. The title ‘Homemade’ not only alludes to the images of my home, but also to the very domestic task of making home-made preserves and re-using those jar lids. The coloured tops are just visible acting as frames for each image. They are about as far away from ornate guilt frames as you can get, again highlighting the humdrum of day-to-day living.

The scale was tricky for me. I am normally more at ease with large format drawing and painting. The largest lid here was only 8.5cm in diameter. I primed the inside of the lids with gesso (including the rubber seal where present) then used the smallest brush I had and acrylic paint to render an image. Once dry I layered more colour where necessary, especially for the highlights. The hardest part was getting the vertical lines straight. Not only was I working very small, but was working down into a small well. The sides of the lids interfered with my hand a lot.

Once completed, I had four miniature tondos, however it proved hard to display them adequately. Any arrangement that tried to avoid a grid in some form resulted in one painting being ostracised from the others! I resolved this by going back to my hallway, turning to face the direction of the stairs and then taking a massive step back. This gave me a view of the top of the stairs and the mirror on the landing. I liked the contrast this viewpoint gave to the downstairs door frames, with the top of the bannisters acting as a strong leading line. And so I was able to create a fifth miniature allowing a more natural grouping.

The final challenge was to display my five miniatures as a single tondo representing the interior of my house and a journey through it. To find a suitable support I once again turned to my recycling bin and used a circular cardboard base from a pizza. I had to trim it down to the correct size, which proved quite difficult: the card was too thick for scissors to deal with so I had to use a knife. Having no solid item of the right size to cut against (my plates were either too large or too small), I had to resort to cutting the circle free-hand - which shows -but does add to the homemade feel fo the piece!! I painted the base in a couple of layers of white acrylic and then stuck on the lids with double-sided tape to create my tondo of tondos.

Pike

The viewer is now free to wander through the interior of my house at will, but please note the general mess and clutter has not been included!”

You can view Homemade, online, here www.edge-zine.com

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Assem of found

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mblages

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objects

By Mini Arora

Many years ago I had the same feelings, as I opened up one after another of my late mother-in-law’s personal drawers. I felt I had no right to be doing this but it fell upon me to clear them out.

What I saw were many knickknacks, broken watches, or jewellery, old photos that were somehow not kept in the albums that I knew existed, odd buttons, remnants of various cosmetics, old coins, and keys to nowhere. I found myself curious as to why they were there jumbled up in a drawer.

Why did you hold onto this mum, was there a memory attached to it? I had noone to ask. I found it hard to throw away all these little ‘things’. Some years later I was asked to sort out my late fatherin-law’s belongings and then later on the stuff collected by my own parents. How do we deal with this rummaging through their ‘things’. Between the inevitable grief we are asked to make decisions and through the whole process we are questioning every little bit of bric-a-brac we find. Where is this from? Why was it kept? Do we discard, do we keep?

My work stems from the hoarding that I do (and have done for many years) of my own things and those of my family. I create something like a cabinet of curiosities using memorabilia. I also incorporate the mundane into each work - things that we all have in our homes - nails and screws, broken ceramics, or used bottles that were meant to be thrown away, almost as if to use only memorabilia would be too emotional for me. Or if I am totally honest with myself, there is a space to be filled, and if I can use something from my stash it gives me great satisfaction because I am repurposing. My work is like a drawer and you can look inside...you have permission, but what exactly will you see? It is a visual puzzle.

In fact, by using my family’s accretions in my assemblages, I am able to let go of the object. I find it has my blessing to go out into the world ...albeit in another avatar.

I have to confess I have accumulated so much too and I wonder when that times comes, who will root through all my cupboards and what they will do with all the ‘things’ that I am reluctant to let go of.

Get Social...

There are many groups and forums to be found involving the OCA (if it involves canoes, you are probably in the wrong place). A great Twitter starting place is the Student discussion forums available on @opencollegearts the student website, you must ...and find us here: be logged in. Here you will find @edgezine plenty of different categories to browse through and a lot of support, whatever your query or news you have to share.

#edgezine #ocaillustration #ocacreativearts #weareoca #ocafriends #ocagraphicdesign #ocatextiles

Instagram Regional: OCA Europe OCA Southwest Open College of Arts Find us here: edge-zine

Facebook

OCA: The Open College of the Arts The Open College of the Arts S port Group MISC.: OCA Sketchbook OCA Cafe OCA Store Regional: OCA Textiles - East Midlands OCA in the South West OCA Southwest OCA Thames Valley Group

Course: OCA Photography Students OCA Photography level 1 OCA Textiles OCA Fine Art Students Group OCA Drawing skills OCA Illustration OCA Graphic Design Students OCA Printmaking OCA Creative Arts (C

We at edge-zine are not involved in the administration or day to day running of (most of) these groups or pages and bear no responsibility for their co This list is for information purposes only.

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Self-

portrait

By Therese Livonne

T

his painting is a self-portrait made on canvas using acrylic paint and painting knifes. I used a photography of myself as a starting point. The size is about 70 x 60 cm. Before starting the painting I was set on going big, using painting knifes and the mix of Prussian Blue and Raw Umber.

That was my starting point.

Inspired by Ellen Altfest’s painting The Back, (2008-09) and Jenny Saville’s Juncture (1994) I knew I wanted a close up composition. I also wanted to focus more on mediating an inner state of mind and feeling and focus less on likeness or realism. I wanted to express a feeling of despair and hopelessness.

How I felt inside.

I had not much experience in either painting large, self-portrait or using painting knifes so this whole painting was a challenge. But I found it helpful to work rather fast, using a limited palette and also working with the painting knifes. This helped me not to get stuck in details and slow down my process which is often a problematic thing for me. I am taking with me these valuable experiences and teachings into future work.

External link relating to the work: https://tllog2.wordpress.com/2019/04/12/assignment-3/

By Renate Maas

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Untitled (“”Casket I””): Casting and relief technique, ca. 30 x 16 x 8 cm, plaster, acrylic color, horsehair

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Untitled (“”Casket II””): Casting and relief technique, ca. 30 x 16 x 8 cm, plaster, acrylic color”

Find out more about submitting your work on page 70 , by visiting our Facebook page or website

Mi g r

c l y e C e ia n

Drawing and collage in small sketchbook - this drawing was created during the cycle of a migraine - much of the pain inside my head has gone but I felt like there was a hole and sense of emptiness happening inside my head.

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s

I used ink and collage to respond to how I felt and torn into the paper. My process begins in my sketch often rapid drawings and collage.

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Inside

By Michael Green

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= πr2

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ince I a of phot much as m thing, but

arrived back home two things have grabbed my attention. The first thing is a book tos and poems called “Elmet”. The second thing has probably effected your life as mine, possibly more. This second thing is CoVid 19. I refuse to be beaten by this will also respect the instructions the medical world give me to keep us safe.

The book shows photos by Fay Godwin she took these photos in the Calder Valley they are wonderful in there own right. Put them with the words of Ted Hughes and they make me soar to the moors.

Back to this virus that tries to hold me inside, we are advised to exercise but to stay within 2km of home.

Using that hated formula from school pi R2 we have 12.49 square kilometres to play with.

Fay Godwin took her photos inside the Calder Valley, I can’t get to the Calder Valley but the valley where I live is the next one North to the Calder so I went for a walk inside the peramaters set by Covid19. To take this Series of photographs inspired by Faye Godwin.

Just looking at what is in front of us gives us a challenge we can use to create art. I know not all are as lucky as me to have 12.49 square miles to play in.

However what’s to stop you drawing or photographing the view from your window. Write about the things you see or imagine you see around your home.

Even sketch your breakfast for several days and share your images or words.

We must not let this situation defeat us we need to connect in whatever way we can, if that is standing for a few moments applauding our NHS teams then that is great, but what else can we do with this time we have been given.

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“Call for Submissi

he theme for this issue and the next couldn’t be more poignant being “Inside” and “Connection”. Most of us are enduring an enforced period of self isolation or at least social distancing.Endurance will play a key part in this piece of writing as you will discover.

I have just returned from five months in the frigid seas around Antarctica. I spent many days inside the ship I traveled on suffering seasickness and the discomfort try to shower or moving around a rolling ship. After enduring these periods of lockdown we generally arrived at some wonderful place such as South Georgia or the Antarctic Peninsula. These places rewarded our suffering with adventure and experiences which soon made us long for more suffering to get to the next place.

After one period of four days we arrived at Point Wild on Elephant Island a place where Frank Wildand the twenty seven crew of Ernest Shackleton’s ship endured three month’s twenty seven days of hardship and suffering before connecting to the “civilised” world and safety.

CoVid 19 began to get a hold on our world towards the end of my voyage. This caused me to endure 36 hours with no sleep in Buenos Aires to avoid arrest and quarantine. Followed by long flights to São Paulo in Brazil and then home to London. After these periods inside airports and airplanes I returned home to face this virus with loved ones in my home.

Having experienced 23 degrees above freezing for the whole of November in Antarctica I wonderif the most dangerous virus on this planet is us the human race? We must think about and change things so we create more and damage less. The art in these two issue could be the catalyst to begin this change. We must connect with each other and our planet to begin the process aw begin to reconnect with our family and friends, our art will help I am sure.

It is worth suffering to experience the good times like the day I left the inside of the ship and saw the waves that were causing my pain I felt connected to nature and had to attempt to capture what I could see!!

Don’t forget that media using sound and moving image can also be submitted (.mp3 & .mp4 preferable) to be embedded in the digital zine, and throughoutour website and social media platforms We would ask you for a max 100 word bio and a min 200/max 2000 word re68

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flective account of your creati for our printed edge-zine. We outcome as much as we are in your practice, and will includ be viewed / or heard.

Use the submission form, of w website or on Facebook, whic with max 100 Mb (please not used).

Incomplete submissions w

We get a lot of wonderful sub clude as many of them as pos

ions...”

ive process, or written accompaniment e are interested in your visual or verbal nterested in the process of making and de a written link to where your work can

which the link is also available via our ch allows you to submit up to 10 files te that not all images submitted may be

so please don’t be disheartened if your submission hasn’t made it in this time. Where possible you will be given priority in the next edition.

Midnight, June 30th 2020 We look forward to seeing, watching and/or hearing your submissions for our Summer 2020 edition.

will not be accepted.

You can submiit your woork by using the form here

bmissions and, although we try to inssible, 80 pages are surprisingly limiting

Photo and submission call contributed by Michael Green.

Michael M Colvin Mini Arora

I studied at the OCA as a mature student. Being a creative person throughout my life and finding that I was always learning new skills in art, I felt it was time I could put this all together and gain a much desired degree. Through the education I received I was able to gain more knowledge and also confidence as an artist. Since then I have contributed my works to exhibitions in the US and India where I live.

Web: http://miniarora.com Twitter: https://twitter.com/artzformee Facebook:http://facebook.com/MiniAroraStudio instagram: www.instagram.com/artzformee/

I like to explore a chosen project through constructed photographic imagery. This entails making props and re-photographing them to incorporate into visual narratives. I spend quite a bit of time thinking about a piece of work before I pick up my tools and then there is a flurry of activity. I find the work comes together very quickly and once a series of images are made they might need tweaking; that one idea that completes the series may remain elusive for a while - but it doesn’t take long once I’m fired up on a project.

Most of my projects are connected to Queer identity as that is part of who I am and I think it is important to make work on themes that I have a tangible connection to.

https://www.michaelmcolvin.com/

Sarah Gallear

Sarah Davis Drawing 2, level 2 I have been studying with the OCA for 4 years I decided to study as I wanted not only to learn new skills but also to discover a relationship with art.

I suffer from migraine and have used art to make sense of pain.I work full time as a librarian which is an achievement as o am dyslexic.

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Working with both digital and analogue techniques, I like to explore the unusual, forgotten and unloved from aeroplanes through to architecture. Visually I like striking shapes and textures in my work, with the smaller details that I find can be overlooked.

I am currently working on a long-term project to capture the transient nature of the area where I live and investigating those more forgotten local landscapes.

In 2014 I won the PythonOakley People’s Choice award in the Warrington Contemporary Arts Festival with a landscape image and am currently on my final level three photography course, ‘Sustaining your practice’

Blog: https://sarahgallearsyp.design.blog/ Web: http://www.saltwickstudios.co.uk

Beverly Duckworth I have spent the past twenty years working for charities campaigning on poverty, human rights and the environment. I studied art whilst on sabbatical in Mexico, and I am now in the final stages of my Painting degree with OCA.

Steve Cussons Creative Arts L3 Research and Body of Work I am on the Creative Arts pathway and have just started my level 3 studies combining drawing, printmaking and science. I have retired from working, motorcycling and caving. I have not retired from learning, walking, making stuff or playing loud music. https://www.instagram.com/stevecussons/

Adelina Gelu My name is Adelina Gelu, I am based in Timisoara, Romania and I am currently enrolled at Open College of the Arts studying Photography pathway, the last unit of Level 1 – Identity and Place.

My specific interest lately discovered resides in discovering who I am with the help of photography which is for me a language that I am learning to better define myself and the other.

I am drawn to what is hidden or buried inside the body, what is revealed on the outside and the boundary between. Working with hair, skin and dust as primary materials, I reveal and reconfigure the discarded to provoke and question dual reactions of attraction and disgust. My work raises questions about what we choose to value and I am interested in how our aversion to dirt and organic matter connects with our precarious relationship to the natural world.

Web: www.beverleyduckworth.com Instagram: www.instagram.com/bev.duckworth

Anna Goodchild Before retiring, I taught English, Italian and French language and literature to 11 - 18 year olds but I did not realise when I started the OCA course how significant this was to become in my photographic work. I have just passed my Photography Level 3 SYP and part of my L3 project was a poem - I had created another image with words. The image I have submitted here which started life in my L3 investigations into prisons and prisoner identity, has gone through some mutations, as will many others as I try to develop my work post-graduation

Blog: www.annasyp.wordpress.com Web: www.annagoodchild.com www.edge-zine.com

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Therese Livonne Hugh Hadfield

Understanding Painting Media (HE4)

Illustration 2

I live in the south of Sweden with my family of two young kids, husband and two dogs. I am on the Painting pathway with the OCA and currently on the third unit of level1. On this journey of finding my own artistic voice I try to experiment and keep an open mind. The last two years much of my work has been about “the inside”. It has been very much an outward expression of an inner journey.

I’m exploring illustration to build my skills and confidence to the point where I have a strong enough portfolio to start doing more pure illustration in my work. I’m open to collaborate on personal projects and anything creative and interestin https://hughhadfield.com/ https://www.instagram.com/hughhadfield/

https://www.instagram.com/thereselivonne_art/

Alison McCoy Vickiy MacKenzie I am a writer, creative writing tutor and book reviewer living on the east coast of Scotland. I am working on my first novel, Brantwood, which is based on several years in the life of Victorian art critic and social reformer John Ruskin, and a short story collection, Creaturely, which explores what other species mean to us, as well as the ways in which we ourselves are ‘creaturely’.

I’m Unit Leader for Writing Skills and take great satisfaction in bringing out the best in people’s writing and helping students to achieve their goals. I also find that teaching keeps me on my toes with regards to my own writing! I’m drawn to work that responds to unusual subject matter or casts a clear eye on the natural world, and often read books of natural history, popular science and writers’ letters for inspiration.

Web: www.victoriamackenzie.net 72

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I am most at home in nature whether lying on the beach or walking the dogs in the park. I see Infinite variety in twisted branches, running water or shadows cast by the sun through leaves.

I look for beauty in the everyday whether influenced by humans or simple, untouched nature – a wave crashing on the beach to sun filtering through a fence. Little pockets of joy can be found in unexpected places every day.

Spending time in nature and connecting with the energy of the elements I look for simplified lines and shapes which together give a feeling of the place.

I am just finishing my second level 2 course, Studio Practice.

Anna Pike I am a Biologist and have been studying with the OCA for 5 years. I am currently enrolled on Painting 2: Studio practice. Art and science are so often separated in peoples minds, however, it was a chance encounter with a life-drawing class whilst a student that sparked an interest in depicting the human form that has stayed with me to the present day. Embarking on a degree with the OCA has been very much about scratching an ‘artistic itch’ and helping me develop as an artist by pushing me right out of my comfort zone.

OCA learning log: https://annapikepainting2art.wordpress.com/ Instagram Username: annapikestudio Website: www.annapike.co.uk

Renata Maas

Sculpture 2, level 2 Artist, art theorist, author, lecturer and museum educator.

Arlene Sharp

Helen Rosemier I am a multi-media artist, currently studying photography at Level 3. My work is mostly about human groups, how we interact and particularly the urban micro-environments we create. I’m interested in temporality and the traces we leave on the world.

My paintings are an exploration of objects and how they relate to their surroundings. Relationships are fundamental in my work. Object to space, line to shape and form, the effects of light and shadow on colour, contrasts of pattern, texture and scale. I am most concerned with making paintings that are visually pleasing and that feel balanced. They may or may not reflect a theme or a state in time or of mind, but this is less important than making work which is a valid interpretation of the world as I see it. I am just finishing my second Level 2 course Studio Practice and am looking forward to continuing my explorations at Level 3.

Blog: https://arlenestudiopractice.wordpress.com

Your Tanya Thomas Studio Practice, level 2 I have been studying on the BA Painting pathway since 2013, struggling to find time between work and family commitments. I live in Suffolk and often draw on the detail of the natural environment around me. I enjoy mixing up media, especially water based and sometimes incorporate collage. Drawing Two and now Studio Practice have taken me into lots of exciting experimentation but I keep returning to intricate observation.

Stefan J Schaffeld

Micha

Exploring vulnerability, ambiguity through material transformation and space in-between. Study FineArt with UCA/OCA as my passion.

Artist and art therapist

I am pro producin pects of

Inger Inanna Weidema

I look fo the imag zine.

I am interested in fluid materials and mixed media, sometimes combining this with a textiles approach or a textile medium. I am driven by the dialogue with certain materials that have innate qualities waiting to be discovered. My best experience is when I can surprise myself and when I am not totally in control of what happens.

I am a biologist by training and as an artist I continue to work from that original sense of wonder about (and at) various natural patterns and phenomenona. I currently study for a BA in textileart at the Open College of Arts, UK. 74

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I am enjo my deg from Sou ages I am toshop.

Thanks t into anot Web:www.stefanschaffeld.com Instagram:www.instagram.com/stefanschaffeldart Facebook:www.facebook.com/stefan. schaffeld.artist

Blog: www peblog.ph

Team...

ael Green

Catherine Banks

oud to be part of the team ng edge zine I love all asphotography.

I was born and brought up in Sheffield but gradually wended my way south to end up here in leafy Surrey.

oying Landscape level 2 of gree. Having just returned uth Georgia with 6000 imm getting familiar with Pho-

Having left school early, I returned to learning as a mature student after my children were born, including an Open University Degree.

Before retirement I worked as probation officer then mental health social worker, becoming involved in post-qualification training plus NVQ qualifications for social care managers.

orward to sharing some of ges in future editions of the

to all for the effort put into ther fabulous edition.

w.michaelgreenlevel2landscahoto.blog

I’ve always thought I wasn’t an artist but am slowly realising that it’s possible if I let my intuition guide me and don’t try too hard! www.instagram.com/cbankssurrey/

Amy-Sarah Opitz I had to write....

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......for a Bio, will this do?

insta: @riftedcreation

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Beverley will be giving a virtual artist’s talk and tour of ‘Remains (dust)’, ‘Capsula’ and other recent work on: Saturday 2nd May at 11am, which you are warmly welcome to join.

You can sign up to the talk and tour here: https://www.oca-student.com/comms

[‘Remains (dust)’, 2018]

Raising Dust, Page 10

By Beverley Duckworth

Raising Dust