Made in Hampton 2024

MADE IN HAMPTON 2024

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elcome to the third edition of Made in Hampton, a magazine showcasing the superbly creative talents of our Upper Sixth artists. Their work was exhibited in the Art Department gallery during summer term 2024 and it was a great pleasure to welcome a host of pupils and parents to view the wonderful artwork on display at evening private view events.

Made in Hampton is an initiative that records the talent of our senior pupils and enables others to enjoy the imaginative approach of those studying A Level Art. Eight of our Upper Sixth Leavers studied A Level Art and many of them will continue to pursue their interest in the subject as undergraduates on courses including Architecture, Fashion Journalism and Fine Art. Others will be reading for degrees in which their artistic skills will prove to be a significant and distinctive asset ‒ e.g. Mechanical Engineering, Philosophy, Physics, and Classics.

Whatever their respective future pathways, the acquired attributes of critical thinking, creativity and communication will prove invaluable to these Hamptonians. Studying Art at Sixth Form level has enabled them to hone these attributes and many more besides.

It is especially exciting and inspiring to see the variety of media used: painting, sculpture, printmaking, film and animation are all included in the pages that follow.

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he Art Department at Hampton provides the means for pupils to focus on personal response and encourages self-expression above all. Work included in the third edition of Made in Hampton shows the diverse responses that each generation of art pupil brings to their own making process.

Work is underpinned by a strong focus on building the key skills of drawing and responding to the world around us. Pupils are encouraged to develop these skills from the First Year onwards with a balanced programme of projects that develop a range of skills and explore a diverse range of media. Independence and reflection are promoted throughout the GCSE and Sixth Form courses, enabling pupils to grow in confidence and maturity.

Academic achievement continues to remain exceptionally high, and pupils use their Art qualification to apply for a diverse range of courses including Fine Art, Architecture, Fashion Journalism but also Medicine, Mechanical Engineering, Natural Sciences and Classics.

The work produced in the Art Department by our Sixth Form is a springboard for many to go on to develop at Degree level and into exciting creative careers beyond this. The Art Department hosted an exhibition of work by OH alumni in December 2023, highlighting the creative career path for current pupils.

We do hope that you will enjoy Made in Hampton 2024.

The Art Department is an inspiring and welcoming environ­ ment in which to learn, and we aim to nurture a love for the creative arts in all our pupils that will stay with them for life.

Kevin Knibbs Headmaster

Karen Williams Head of Art

Ben

A levels Art, History of Art, Religious Studies.

Planned destination Fine Art, Loughborough

My coursework theme was Narrative. I began by viewing this as narrative behind an artwork. I used painting, mono printing, etching, photography and collage.

As a large initial piece, I created a mixed-media collage on a surfboard. As I used Brighton West pier to represent the culture and beachside of Brighton, a surfboard seemed the perfect fit. The west pier collage displays textured fabrics in the negative space of the pier and uses the black background to show its form. I represented the fire which burnt it down in March of 2003 through the background behind the collage. Moving on, I looked at narrative in animation.

After making several animations I developed in three different paths. The first was an animation labelled ‘Ignorance,’ the second ‘Realisation,’ and the final ‘Application.’ Each of these were separate in development and style but cohesive in story. It follows a man who is ignorant to the world around him, very selfindulged and un-empathetic. He realises his situation and opens to the world (visualised by him splitting). Finally, the last step is to apply this to the real world, changing his world from an urban setting to nature. These animations were projected onto the surface of the surfboard. The soundtrack contained music by the artist ‘Linkin Park,’ thematically relating to Chester Bennington tragic suicide in mid 2017. Music was a considerable influence on this project.

My chosen exam theme is Science. I began by looking at pattern in science, such as in the Fibonacci sequence or through plant cells. In a workshop with Paul Catherall, I created a lino print of overlapping biological aspects of the Fibonacci sequence. I examined the idea of ‘science being the new religion,’ creating lino collages and etchings of religious imagery, mixing them with scientific aspects. Religion and science have many meeting points, for example liberal Christian’s taking the Bible in a metaphorical sense, using science (such as the Big Bang) to help explain religious events. Moreover, schizophrenia shows patients both thinking they have solved philosophical and mathematical problems. After a visit to the Royal Academy, I wished to explore anatomy, as this has been a recurrent theme conveying form and power in religious artworks from the past. I added the surfboard to the trilogy to represent pollution and its destruction to nature. My piece consisted of monochromatic scientific imagery, containing dark room photos, collage, monoprints, and some of my life drawings. On top of this I layered a collage of religion, conveying the Holy Trinity. The newspaper at the back of the collage was exclusively Bible passages about God the creator (The Father), Jesus and his miracles (The Son) and then the healing spirit of the Holy Spirit. Using Indian ink, a drawing representing each of these was made and added in a triangle.

The shape of the foreground also contained symbolism in the shape dictated that of the 3 hills where Jesus was crucified with the two criminals who he forgave.

Camilo

A levels Art, Physics, Religious Studies.

Planned destination Philosophy, Bristol

Science was the theme I chose from the prompt list for my final project. I started by exploring Leonardo Da Vinci’s anatomy drawings, creating detailed sketches using Indian ink. From these drawings, I produced an A3 etching. I went on to use the medium of linocut printmaking, inspired by Paul Catherall, as well as Andy Warhol and Damien Hirst, to create a series of skull prints. After the success I had using this technique and medium, I decided to create another series of reduction linocut prints, going back to Da Vinci and his anatomy drawings. For my final piece, I was inspired by Joseph Wright of Derby and his painting ‘The Alchemist’, as well as a painting by Thomas Wijck, also called ‘The Alchemist’. I explored light and contrast, taking a series of composition photos, producing drawings and paintings which would go on to inspire the idea for my final piece. I felt most comfortable using the medium of acrylic, and I gained confidence with my sense of proportion through some of the life drawings sessions we did during the course of the exam unit. My final piece is reflective of the work I have been doing linked to anatomy, as well as my use of expressive colour and contrast.

The title I came up with for my personal investigation was ‘comparing how the figure is portrayed through different mediums’. I took great inspiration from the expressionist work of Oskar Kokoschka, exploring his portrait painting. From this, I created a large scale painting, with my main focus being on my use of vibrant colours emphasising expression. I then went on to study some of his nude portraiture, particularly his ‘Two Nudes’, which inspired me to create a series of two paintings, which both take inspiration from the life drawing sessions we had throughout the year. I felt that my use of shadow and highlights was particularly important. Barbara Hepworth was another inspiration of mine, and I created a sculpture looking to take note of distinctive style of a ‘form’.

This was also characterised by the hole through the top of the sculpture. Lastly, I was inspired by Andy Warhol’s use of colour in his portrait prints, and so I decided to create a series of linocut prints emphasising this use of vibrancy.

Findlay

A levels Art, Government and Politics, Religious Studies.

Planned destination Classics and Ancient History, Durham

The theme I explored for my coursework was Symbolism in Myths, looking at how application of ambiguous symbols through imagery, iconography or composition can give clues to the meaning behind a piece of work.

I investigated the French symbolists artists Odilon Redon and Gustave Moreau, but the High Renaissance painter Titian captivated me most. I drew from his manner of working as my coursework developed, working in oil paints for several pieces. Symbolism can have a very powerful impact on how one perceives a piece of work, and it was particularly interesting for me to look at how this can be applied when representing stories from ancient Greek and Roman mythology, which in themselves have significant moral meaning.

For my exam project, I chose the theme of Conserve, and specifically the sub-title of Tradition. I was particularly interested in exploring Conservatism regarding tradition and the monarchy. Such institutions as the House of Lords, and the legitimacy of the royals played a big role in my project, and I produced a half-length portrait considering the former. I worked in oils, which I found to be by far the most viable medium for my work, as well as producing some etchings, and, drawing inspiration from the Dutch Baroque artists like Rembrandt and Rubens, I produced a final painting that looked at the ceremonial role of the king in signing legislation (known as Royal Assent), and how we needn’t criticise or remove such cultural establishments.

Sam

A levels Art, Physics, Maths.

Planned destination Engineering, Exeter

For my coursework project I decided on the theme Organic Forms, for which I was inspired by multiple sculptors including Hepworth, Moore and Gormley, all of which manipulate the appearance of the human form. I was carried down the path of sculpture where I saw a piece by Matisse of three women’s backs, which became more abstracted with each one. From this I took inspiration into my sculptures as I recreated some forms we drew in our life drawing sessions.

Retrospectively the life drawing sessions were helpful to understand better the human form when it came to abstracting the sculptures. I then wanted to bring in the mirror theme I had earlier in the year to create a better atmosphere around the final sculpture.

The subject of bridges and in particular the geometric pattern I found on my trip under the Bridges of the river Thames lent itself to being interpreted in a lino cut. I really enjoyed the precise and accurate graphic process involved with sketch, hand drawing and then drafting accurately the shapes and printing the images and refining them. I was further inspired by a visit from Paul Catherall who focused on the more precise approach in lino cutting. In parallel I visited an Auerbach exhibition. The link with my historic interest in Peter Lanyon driven from my visits to grandparents in the south west and the St Ives school of painting is where the depth of colour unique to the area is expressed in sometimes bold and yet subtle interpretations of the sea and associated landscapes/ structures. The challenge I set myself was to combine the fantastic imagery of the lino cut solution with the painterly qualities exhibited in the brush strokes in my Lanyon transcription painting. The exercise of interpreting the Thames water was created by exploring the shape of water in charcoal under the bridge.

I then outlined shapes on top of the charcoal on tracing paper which I coloured in blocks that could be cut in the lino. But that did not deliver any of the painterly qualities I wanted to embrace from my earlier work. I embarked on some oil painting of the water in the style of Lanyon influenced by my previous interpretation and using colours from the Thames bridge and the sea. Cerulean blue forms the basis of the depth of colour within the sea interpretation onto the Thames. It was that passion expressed in brush strokes and depth of colour combined with the beauty of geometry that creates the structural solution to The Bridge I have achieved.

Stefan

A levels Art, History, Maths.

Planned destination Architecture, Cardiff

The nature of the work I would go to produce throughout my coursework project would vary. However, my theme of dynamism in architecture would stay consistent throughout. I started off exploring the works of John Piper, as this is where I left off my work the previous year. It would be from here, after creating a series of studies, I would choose to focus part of my project on architectural representation in artwork. This would coincide with my research on Fiona Rae, and her use of oil paints to create effects of dynamic expression and movement. These two interests would form the bases of my project, whereby I would combine the two ideas of architecture and dynamism. After creating a series of lithographs, similar in composure to Rae’s own works, I focused on the human figure, including a series of charcoal sketches based in the work of Umberto Boccioni. However, I moved on from this, deciding to exclude any potential elements of human figure in any future work, in order to be able to focus on my original ideas. The work of Boccioni would inspire me to explore more Italian Futurist Art, including that of Tullio Crali, off of which I would plan to produce a large-scale painting on a Futurist cityscape. I would eventually deviate its originally planned style, and would incorporate quick, sketched strokes into the piece, aiding and unifying it with the rest of the work.

After exploring the work of Charles Sheeler and Paul Catherall, I made the decision to produce a series of collagraphs, representing the culmination of my ideas throughout this project.I entered the exam project with a clear vision. Picking to work on the theme of science, I decided to address the requirement to produce a piece of work to be presented at the entrance to a museum exhibition. I focused in on the art produced by the USSR to celebrate their science programmes throughout the Cold War. This would then progress into my exploration of a hypothetical scenario where the Soviet Union reached the moon before the United States did, and thus ‘won’ the space race. After completing some research on this, I produced a series of lino prints of a Soviet rocket site, under the supervision of the artist Paul Catherall, utilising his own method of lino-printing. From here I started preparation for my final piece, which would be a series of works, including two variations of lino-prints, and a plaster mural. For the mural, I based my designs for its individual elements on the preliminary work I had already produced.

Tom

A levels Art, Physics, Maths.

Planned destination Philosophy and Physics, Bristol

For the coursework project, I worked around the chosen theme of ‘Dreams’. Watching David Lynch’s filmography, I was inspired to explore dreams in my own physical way. The principle practical artists I chose as reference was Francis Bacon, as his warped style and disjointed figures was a way for Bacon to explore his own dreams and his psyche as an extension. My final piece for that project was a large mixed media painting inspired by Bacon’s figures and Lynch’s mis‑en- scéne coming together to create an unsettling religious piece.

For my final project, I selected the theme of ‘Sky’ from the prompt list. I didn’t have any final piece or any idea really where I would go with the prompt, however I knew I wanted to explore and come up with something original to the prompt. I started by just exploring depictions of the sky in art such as Turner’s and Blake’s. However, inspired by seeing the ongoing news about the conflict in Gaza, I decided that the Gazan people’s relationship and fear of the sky was an effective and relevant avenue to take the project down. For my final piece, I designed a woodcut triptych inspired by Käthe Kollwitz’ ‘War’ series to explore the effects of aerial bombing on people in Gaza. Since lower sixth I have been exploring and experimenting with woodcut printing and so felt to do the final piece in that medium would be an effective closure to the course (and the medium I felt I couldn’t mess up as bad in an exam).

Ben – History of Art

A levels Art, History of Art, Religious Studies.

Planned destination Fine Art, Loughborough

Ben’s History of Art coursework has enabled him to address personal areas of interest in Public sculpture and develop his understanding of the importance of curation and setting. Visiting sculpture parks and his experience assisting contemporary sculptor Kendra Haste inspired Ben to design his own sculpture park on a site very personal to him: the white cliffs of Brighton. The white cliffs form an imposing context whilst the sea setting and mixture of open spaces, with tides and changes in weather, add drama and change the visitor experiences.

Ben’s exam unit focused on his family connections to Poland and the historical, political and social context of art in the post-war years and communist rule. The starting point of ‘Bridges’ led to him focusing on connections, rebellion, community and revolution in Polish culture, with a focus on the evolution of cartoon strips, political cartoons and propaganda. Researching contemporary events and connecting with his family’s own anecdotes, Ben went on to develop his own cartoon images and collage them with a careful selection of sources, combined with drawing, print and letterpress to evoke the graphic style of the era.

Charlie – History of Art

A levels History of Art, Maths, Religious Studies.

Planned destination Architecture, Oxford Brookes

Charlie has specialised in Architecture throughout the course and his planning, design and rendering skills have progressed to create a strong portfolio.

His coursework followed the theme of ‘Linear’, where he focused on the different approaches to housing developments in the 1960s, studying the very different layouts, concepts and realisation behind the ‘Brutalist’ era found in the Barbican Estate, Alexandra Road and Bishopsfield, Harlow. Charlie went on to develop his own masterplan and detail designs for blocks of apartments and then a Music Pavillion, exploring how different shapes, massing and material choices effected the everyday experience of occupants.

Charlie focused on Conservation in Architecture for his exam and how buildings are re-purposed for new uses, with sustainable materials. He looked at the conversion of Battersea Power Station and the King’s Cross gasholders, before identifying a Victorian industrial building to develop his own designs on. The project then extended into an environmentally driven house in a challenging site. This new-build project enabled him to push his understanding of eco-design principles and materials whilst also working without limits in planning spaces and use, with clever split levels and optimisation of light, thermal properties and modern materials. Charlie’s working in CAD and rendering has advanced impressively and will give him a running start in his Architecture degree.

Zac – History of Art

A levels History of Art, Music, History.

Planned destination Fashion Journalism, Central Saint Martins UAL

Zac has shown an interest in collection and curation since the Lower Sixth Museum project, so his A-level work has focused on the study of museums and galleries, and how the architecture and display shapes visitors’ experiences. His coursework and related study looked at famous museum architecture, such as the Louvre and the new V&A Museum in Dundee. Zac went on to design his own museum gallery designed to house fashion collections, a genre he is passionate about. The resulting cave-like building is a striking setting for delicate haute couture pieces set in lit tubes, crossing the boundaries between fashion and sculpture.

Zac’s exam unit drew on his Iranian family heritage and he chose the theme ‘The Dinner Table’ as a spring board to make connections between traditional and ancient Persian designs, the importance of food within cultures, and modern political Iranian art and graphic design. His curated exhibition brings together precious dining ware and traditional crafts within a busy ‘feast’ setting , breaking with the tradition of museum cabinets and creating an interactive and immersive experience for visitors, within a busy decorative setting.

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