4w Fine and Applied Arts (UWTSD)

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Fine Art Combined Media Painting & Drawing 3D and Sculptural Practice

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Surface Pattern Design Contemporary Applied Arts Practice Textiles for Fashion Textiles for Interiors Fashion Object

Fine & Applied Arts BA (Hons) Photography & Video

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Rachel Adams

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BA (Hons) Photography & Video

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Fine Art Programmes 70

Daisy Dyton

The Fine Art course at Swansea equips graduates with the skills to enter a number of career paths.

Recent graduates have gone on to become visual artists and curators in their own right, winning the Wales Artist of the Year award and curating and exhibiting internationally. Some have initiated visual arts spaces such as Elysium and Red Door, while others have pursued careers in teaching, lecturing, arts administration and technical support. Others have pursued residencies and postgraduate courses, including at the Royal College of Art.

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01 & 02. Nicola Dowdle

Are you a creative person who likes to experiment with ideas through visual expression?

At the core of our Fine Art programmes is a desire to explore how you as an artist can express your ideas through a variety of visual media.

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BA (Hons) Fine Art

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Fine Art (Combined Media) Fine Art (Painting & Drawing) Fine Art (3D and Sculptural Practice)

The Faculty staff and visiting artists who teach on the programmes will encourage you to develop your own personal visual language through your chosen media. The Fine Art studio spaces are animated places where lively discussions include the relationship between concepts and the appropriate means of expressing these materially and visually. No medium or method is excluded - we encourage students to consider which material is most pertinent for their ideas, from 3D fabrication to painting and drawing to video, performance and installation. There is no hierarchy of medium and a flexibility of approach is paramount.

At the very start of the course you will learn technical skills through a series of workshops that will give you the confidence to utilise the medium most suitable to realise your ideas, as is appropriate for contemporary fine arts practice. As the course progresses you are encouraged to evolve your own themes and approaches and to become increasingly self-directed.

Throughout the course you will be given support, direction and advice by the programme team via tutorials, group seminars and critiques. Visual Studies, Historical and Contextual Studies and Professional Practice for Artists and Designers are further elements of the course that inform and support the major study modules. These allow for contextualisation and interaction with staff and students from other disciplines within the Faculty of Art & Design.

The Fine Art department also has strong links with the Printmaking studio where the students are encouraged to develop an awareness of Fine Art printmaking practice within the context of their own area of study. Further links to the Photographic, Illustration and Surface Pattern programmes also allow for greater diversity of thought and process within this environment.

The Fine Art programmes have a major aim – to provide a stimulating, creative and challenging environment in which you can locate and expand your individual visual language, informed by historical references, contemporary arts practice and discourses.

Fine Art

You are encouraged to experiment with different methods and gain technical expertise and confidence in a range of media so that your ideas are expressed through appropriate means in an innovative and exciting way.

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“ The Fine Art degree course provides a stimulating environment that continuously encourages students to develop and express their own individual visual language.

Workshops offer the opportunity to enhance skills and the support from the tutors and technicians is invaluable”.

Nicola Dowdle

Year 1 Year 1 is diagnostic and teaching intensive.

You will be introduced to materials, techniques and a variety of methods through a structured programme of workshops, visual studies and contextual studies.

Semester 1 includes workshops on Drawing, Painting, 3D, Printmaking, Video and Construction. The underlying core of this Semester, which then permeates throughout the whole course, is discussion of the significance of a conceptual framework, within which to articulate your developing ideas. This is seen as fundamental.

In Semester 2 you will continue to explore a range of media with which to distil your

Year 3 ideas. Both Semester 1 and 2 include an umbrella project which students are encouraged to creatively interpret and use as a catalyst to develop an independent research process. This research becomes fundamental to students’ progress, and is assessed accordingly.

Year 2 Year 2 builds on the experiences gained at Level 1 and consolidates skills. At this level you are expected to take chances, experiment and evaluate your individual approach. At the end of the 4th Semester you will participate in an exhibition so that you develop skills in presenting work for public scrutiny.

Year 3 consolidates the contextualisation of your work and the development of a clear direction for your practice through your own visual language. Your programme of study within the major modules at this stage is self-directed and negotiated with your tutors, theoretically underpinned by a written dissertation. Semester 6 leads to the degree show exhibition which is seen very much as a celebration and culmination of your time here. Tutor led discussions revolve around the significance of display as an integral part of the process of making art. As part of this, students take on important organisation tasks such as fundraising, catalogue design and publication, press releases and marketing.

BA (Hons) Fine Art

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< 01 / 02

BA (Hons) Fine Art Combined Media

01. Kirsty Andrews 02. Natasha Tresadern-Hill

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Within the context of Fine Art all media are considered equal. Students are encouraged to experiment with any medium relevant to their ideas or conversely to further develop ideas as suggested by medium. The relationship between concept and material is always discussed within these studio processes.

It follows that work from this pathway is as likely to be a sculptural or video installation, performative work, site specific work, relational projects, or indeed a combination of any of the above.

UCAS CODE W100 Course Code Title BA/FACM artanddesign@smu.ac.uk BA (Hons) Fine Art

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< 01.

02.

BA (Hons) Fine Art Painting & Drawing

01. Natasha Tresadern-Hill 02, 03 & 04. Danielle Howe

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Painting & Drawing engages with a range of perceptual, cognitive and speculative processes.

This involves a technical grounding and a strong involvement in the critical and philosophical dimensions of practice.

Workshops in the first year introduce the action of drawing as an objective means of physically understanding and perceiving a subject. This is further elaborated with the encouraged use of drawing books as a practical research method to aid both construction and dissemination of ideas.

Painting workshops expand these discussions by further exploring colour theories and spatial concerns.

UCAS CODE W101 Course Code Title BA/FAPD artanddesign@smu.ac.uk BA (Hons) Fine Art

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< 01 / 02

BA (Hons) Fine Art 3D and Sculptural Practice

01. Heather Lithgow 02. Sarah Elisa Lloyd

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3D and Sculptural Practice 3D and Sculptural Practice is firmly placed within Fine Art and questions conventional attitudes towards sculpture within the context of this expanding field. Innovation and experimentation are actively encouraged and supported. It explores the use of materials and processes to enable students to develop their own personal visual language and understanding within a contemporary and broader Fine Art context.

UCAS CODE W130 Course Code Title FA3DSP artanddesign@smu.ac.uk BA (Hons) Fine Art

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01. Jordan Joseph

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Surface Pattern Design Programmes

01. Jordan Joseph

The Surface Design portfolio is all about a passion for the creation of exciting and innovative surfaces and structures, which consider colour, texture, image and concept within the context of contemporary art and design practice.

Contemporary Applied Arts Practice Textiles for Fashion Textiles for Interiors Fashion Object

The world really can be your oyster on this course! We have an amazing and enviable range of digital equipment and facilities including luxurious computer suites, lasercutters and engravers, digital textile printers, a digital embroiderer and water jet cutter. Our non-digital equipment is equally impressive with full facilities for dyeing, screen printing, stitch, metalwork and much more. In addition to this, you will have your own personal space in our lively, light and airy studio accommodating all three years of the course.

We focus on creative inspiration, which will allow you to fully develop your individual voice and style. Initially you will experience a wide range of techniques, processes and materials. You will explore the exciting potential that comes with combining traditional skills with the latest cutting edge digital technology. This will be taught through a vibrant series of workshops, lectures and seminars, supported by regular tutorials and group critiques.

Workshops include dyeing and printing, fine art printmaking, stitch, knit, embellishment and manipulation of a wide variety of materials, including paper, wire, metal, glass, plastics, acrylics and, of course, textiles. All work will be informed by a lively programme of visual studies, designed to develop a strong sense of line, form, colour and composition.

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As the course progresses you are encouraged to develop your own themes and approaches and to become increasingly self-directed. You will contextualise your work and develop a clear direction for your practice. During this time you will be fully supported by the programme team to suit your individual needs.

To support the major study modules, all students undertake core modules such as Visual Studies, Historical & Contextual Studies and Professional Practice for Artists and Designers.

A range of optional workshop choices enhances and underpins your programme of study, giving you flexibility and a wider range of opportunities.

This programme has a major aim – to provide a stimulating, creative and challenging environment in which you can thrive. At the same time we promote a realistic appreciation of market requirements, contemporary trends and professional attitudes.

Anything is possible – whether you are an artist, designer or maker, we will help you to develop your full potential.

BA (Hons) Surface Pattern Design

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Traditional Textiles Printing & Dyeing

Drawing Painting Artist Books

Digital Textiles & Printing Visual Computing, Photoshop, Illustrator, Painter Digital Embroidery

Knit Stitch

AVA Textiles Software Wire

Laser Cutting Laser Engraving

Embellishment

Water Jet Cutting

Rolling Mill Plasma Cutter

Garment Construction Manipulation

Textiles

What the course offers you

Paper

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Print Making

Metal

Artist Designer Maker

Designer Professional Studies External Projects Marketing & Self-Promotion

Opportunities to take part in national & international exchanges, competitions, shows and exhibitions

Employment

BA (Hons) Surface Pattern Design

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< 01 / 02

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01. Clare Pentlow 02. Grace Ironside

BA (Hons) Surface Pattern Design

03. Jennifer Coombs

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Year 1

Semester 2

Year 1 is diagnostic and teaching intensive.

You will be introduced to materials techniques, research methods etc. through a structured programme of workshops, Visual Studies and Historical & Contextual Studies.

The theme of layer will be continued covering fabric manipulation, traditional and digital montage as well as concepts and 3DÂ structures.

Semester 1 From the outset you will experience a rich and varied programme, providing you with workshops relating to all four pathways. You will work both 2 and 3 dimensionally.

You will look at surface in terms of unusual paper treatments, paper making and casting as well as in-depth textile techniques, chemical processes and dyeing. The concept of layers will be introduced through printmaking (etching, photo etch, collagraph, embossing) as well as through digital techniques using Painter and Photoshop.

Other workshop activities include printing and manipulation through textiles, stitch and fine metals.

There will be workshops in design development and advanced textiles.

You will be given a choice of projects as inspirational starting points, but immediately from the first semester onwards you are encouraged to develop your work in a highly individual manner, to push the boundaries and to take these ideas into unusual directions.

The course strongly recognises the importance of new technologies and the integration with traditional techniques.

You will be taught extensively in a range of digital applications and encouraged to apply these technologies in a highly creative and innovative manner. The Faculty has outstanding cutting edge equipment and facilities to help you realise your ideas.

By the end of level one you will be ready to embark upon your chosen pathway.

BA (Hons) Surface Pattern Design

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01

02

04

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Year 2

Year 3

Year 2 builds upon the experiences gained at Level 1 and consolidates skills. You will be encouraged to take risks, to analyse, to challenge conventions and to evaluate your individual approach. There will be advanced textiles workshops, design studies and options in garment construction and knit.

Level 3 will be contextualising your work and developing a clear direction for your practice.

You will begin to write your own briefs and you are able to take part in live projects and competitions. A professional studies module in Semester 3 introduces you to the professional context you are working in.

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The Faculty of Art & Design houses The Creative Industries Research and Innovation Centre (CIRIC), which fosters research and innovation in Textiles and the Applied Arts and provides invaluable links to industry.

03. Danielle Guess 04. Sara Jayne Martin

An external project will be carried out between Level 2 and 3, which gives you the opportunity to make contacts, build networks, take research trips or go on a placement.

There will be workshops in alternative formats of presentation, e.g. the digital portfolio, installations etc. as well as marketing and self-promotion.

01 & 02. Charlotte Field

There will be advanced workshops in digital techniques introducing the wide format digital textiles printer and laser cutters as well as courses in PowerPoint as a method of digital presentation.

Your programme of study within the major modules at this stage is self-directed and negotiated with your tutors. A dissertation contextualises your practice and offers you the opportunity to delve deeper into the ideas and concepts you are investigating. Semester 6 is entirely student led and culminates in a body of work or design collection which fully expresses your creative journey in applied arts or design. This work is exhibited in a public space and is known as your final show.

BA (Hons) Surface Pattern Design

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02 / 03 / 04

BA (Hons) SPD/ Contemporary Applied Arts

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05. Penny Pearson 06. Stephanie Weston-Smith

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UCAS CODE W790 Course Code Title BA/SPCAAP artanddesign@smu.ac.uk

03. Leona Curtis 04. Rachel Adams

There are major studies in Textiles and Fine Art Printmaking but you may well find yourself specialising in other materials such as metal, wood, paper, or plastics.

01. Sam Palin 02. Fiona Dowling

The Contemporary Applied Arts pathway focuses on concepts and issues which are realised through a variety of approaches and materials. Our multi-disciplinary programme provides the framework for students to develop dynamic and innovative ideas. The central philosophy is to foster, yet challenge, the creativity of those who are versatile and well motivated, and who will enjoy experimenting with a range of materials. Your journey on this course will lead you towards a clear artistic expression of ideas as an applied artist.

05 / 06

BA (Hons) SPD/ Contemporary Applied Arts

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03 / 04

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01 & 02. Grace Ironside 03. Hannah Reid 04. Sophie Thorne 05. Amy Evans 06. Nicolle de Haviland

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BA (Hons) SPD/ Textiles for Interiors

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06

This pathway is designed for students wishing to specialise as designers and makers, with a passion for enhancing interior spaces with innovative textiles.

A strong emphasis is placed on conceptual development, as is a sound understanding of the issues and expectations associated with a 21st century lifestyle. A wide range of environments will be explored to include domestic, public and corporate space. You will develop a sound understanding of cutting edge developments and market requirements, and will look beyond the obvious in terms of materials and processes used in interior surfaces and products.

The aim is to challenge and influence the interiors of the future with surfaces to excite the senses.

UCAS CODE W235 Course Code Title BA/SPTI artanddesign@smu.ac.uk BA (Hons) SPD/ Textiles for Interiors

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04 / 05

This pathway is for those students wishing to specialise in textiles for fashion. Through workshops, lectures, seminars and visits, students develop a sound understanding of how to meet the particular needs of the fashion industry. Emphasis is placed on innovation with materials and techniques, supported and encouraged by highly experienced tutors. You will learn how to identify trends, market requirements and client profiles, and create fashion textile design collections to show your understanding and increasingly establish your own unique identity as a designer for this fast moving context.

01. Sara Jayne Martin 02 & 03. Charlotte Field

We aim to produce designers who can create cutting-edge textiles to influence the way we look and feel, and who will have a dynamic impact on the fashion world.

04. Rosie Cook 05 & 06. Sara Jayne Martin

UCAS CODE W234 Course Code Title BA/SPTF artanddesign@smu.ac.uk

02 / 03

BA (Hons) SPD/ Textiles for Fashion

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06

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BA (Hons) SPD/ Textiles for Fashion

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BA (Hons) SPD/ Fashion Object

UCAS CODE W230 Course Code Title BA/SPTFO artanddesign@smu.ac.uk

05. Alicja Sobjcak

The course is a dynamic hybrid of fashion design, fine detailing and styling to create unique three dimensional wearable pieces or fashion ‘objects’. This attention to detailing and embellishment within a fashion context will allow students to design, make and style one off garments/sculptures, fashion jewellery and accessories. An overall awareness of the fashion industry will be taught but the focus will be particularly niche. Students will be free to explore their own personal creative vision and individual style to interpret the term ‘fashion object’.

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01. Alicja Sobjcak 02, 03 & 04. Group experiment in 3D wearable ornament and styling.

The Fashion Object pathway aims to produce designers and makers who can create cuttingedge work to influence the way we look and feel, and who will have a dynamic impact on the fashion world. Through workshops, talks, seminars, visits and live projects you will develop a sound understanding of how to meet the specific needs of the fashion industry. Emphasis is placed on innovation with materials, techniques and application, supported by highly experienced tutors.

02 / 03 / 04

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BA (Hons) SPD/ Fashion Object

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01. Danielle Guess 02. Amber Manly

“ Surface Pattern Design has provided me with a variety of experience and skills in a wide range of digital and traditional practices. It has been the ultimate experience and has given me great confidence for the future in designing textiles for fashion”.

03. Leona Curtis

Daisy Jones “ The Surface Pattern course at Swansea is a fantastically diverse course. It opens lots of new avenues of exploration by providing so many different opportunities and facilities, such as laser cutting and digital printing. For me, the focus on drawing was imperative and really helped me develop. I think that the Surface Pattern course is such a successful course as there are little constraints and a lot of support”.

“ This course has been a great learning experience. We have a fantastic range of facilities and our own studio space. I have learned so many new skills including textile printing and dyeing, metalwork, knitting, embroidery and computer design.

Being taught how to promote our work and ourselves was really helpful during the course and after we graduate”.

Malin Odermark “ The Surface Pattern Design course has given me a wide range of exciting practical skills which have given me a strong sense of identity and self confidence”.

Karen Lowes

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BA (Hons) Surface Pattern Design

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Facilities

The School of Fine & Applied Arts has excellent facilities and equipment within its studios and workshops.

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The department has a traditional printmaking area equipped for etching, linocut, monoprinting and silkscreen printing. The metal workshop has plasma cutters, welding and sandblasting equipment. The resin workshop includes a plaster and mouldmaking area and uses industrial processes.

The kilns in the ceramics studio are also used for fusing glass. The new water jet cutter allows for even greater exploration and experimentation with metal, stone, glass, wood and felt. As well as the life room, the department also includes large and flexible studios for all year groups.

The department is fully equipped to explore a broad range of materials and processes for both traditional and digital work. The

main studio is large and airy with individual desks and spaces for all three years. The traditional textiles area has full size print tables, a baking room, dark room, heat presses and full dyeing facilities. We have a needlepunching machine (900 needle bed), for textile fusions and we are equipped for metal and wire work with a pendant drill and rolling mill. We have a dedicated stitch room with full machine sewing facilities, traditional knitting machines and a large industrial knitting machine. We are equally well equipped with our digital facilities. Our digital areas house two digital textiles printers (Mimaki TX2), three laser cutters, a laser engraver and a digital embroidery machine.

The water jet cutter allows for even greater exploration and experimentation with metal, glass, stone, wood, metal and other hard materials.

Fine & Applied Arts Facilities

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01. Sam Palin 02. Caroline Taylor

Graduate Employment Directions

Our students leave our courses with both specialist and wide ranging skills, giving them considerable employment potential within their chosen fields and beyond.

03. Cerys Ackland 04. Jennifer Coombs

Surface Pattern Design/Textiles Portfolio

The list below includes many of the directions our graduates have taken.

Postgraduate Courses; Teacher Training PGCE, MA courses, Freelance design for international companies. Running own studio as designer/maker. Running group business in vintage clothing. Own internet businesses, design consultancy, art galleries, craft galleries, private commissions, lecturing (part-time, full time, and visiting), technicians with Further and Higher Education art/ design departments.

Visual merchandising, trend forecasting, artist-in-residence, art therapy, graphic design, commissions for magazines in graphic and fashion sector, design for children’s fashion and interiors, textiles for fashion, design companies for men and women, textiles for interior design and lifestyle companies and community arts projects, voluntary work overseas.

Companies and Institutions involved include:

• Lush Cosmetics • Absolute Zero • Monsoon • Embroiderers’ Guild • Harvey Nicholls • Jennifer Sanderson • Marks and Spencer • Toast • Mothercare • Pea Green

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• John Lewis • SISU Recycled Clothing • Hallmark • White Stuff • Tom Cody • Top Shop • Fat Face • The Mission Gallery Tigerprint

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Fine Art

What we are looking for

Fine Art at Swansea has developed links with external organisations, ranging from special student events at the Glynn Vivian Gallery to coincide with its exciting exhibition programme, to presentations on professional practice and opportunities by Arts Council of Wales officers, to the newly instigated Mission Gallery prize for a graduating Fine Art student, the first recipient of which was Kathryn Ashill in 2007 and the second recipient was Paul Rees in 2008.

From you we expect curiosity, commitment and passion, with strong interests in visual research and contextual studies and enthusiasm for working with the wide range of materials and processes provided by our courses. Ideally, although not essentially, you will have successfully completed a Diploma in Foundation Studies in Art & Design.

Recent graduates from Fine Art have gone on to pursue a range of career options, including visual arts practice, arts administration, curating, developing artist-led initiatives such as the Exposure, Framework and Elysium galleries and networking projects, as well as pursuing post graduate study at Masters and PhD levels.

Your portfolio should reflect your creativity and should be visually exciting and well organised and presented with accompanying visual diaries/sketchbooks.

Fine and Applied Arts Graduate Employment Directions

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The school has very good links with a wide professional spectrum including design studios, art and craft galleries, designers and makers within fashion and interior areas, lifestyle companies and textile agencies.

We are fortunate to have links with well established companies in Wales such as Howies, Toast, Laura Ashley, Sixis, as well as further afield with White Stuff, Absolute Zero, Fat Face and Eley-Kishimoto. Our students have valuable professional experiences as part of their Professional Studies and Major/ External Liaison Project. Exhibitions of work are arranged at external venues in Swansea,

Cardiff, London and Paris, relating to the diverse needs of our students. We enjoy positive feedback from these shows and this kind of exposure often leads to exciting career possibilities. Many of our students go on to postgraduate courses throughout the UK and beyond, and develop successful careers as exhibiting artists, curators, arts administrators, lecturers and designers.

Some have established artist-led initiatives such as the networking group SUSI, Framework and the gallery Elysium.

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03. Caroline Smith

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01 & 02. Rachel Adams

Professional & Industry Links

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Fine & Applied Arts Professional and Industry Links

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Tim Davies Kilkenny Shift (2009) video still

Professor Tim Davies

Fine Art Staff Profiles

Tim is the BA Fine Art Programme Director.

In 2011 he represented Wales in a critically acclaimed solo exhibition at the Venice Biennale of Art.

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He works in a range of media including 2D, installation, intervention and video, and is primarily interested in site-responsive work.

He has exhibited widely, including shows in London, New York, Sydney, Hong Kong, Central America, Eastern Europe, Ireland and throughout the UK. Recent work has been shown in solo exhibitions at the Butler Gallery, Kilkenny; the Glynn Vivian Gallery, Swansea; Tallinna Kunstihoone, Estonia; Chapter, Cardiff; the Fold Gallery, London and the National Museum, Cardiff. His recent group shows include the WALL Gallery, London; the Graves Gallery, Sheffield; Spike Island, Bristol; the Usher Gallery, Lincoln; the Lightbox, Woking and El Museo del Barrio in New York. He recently participated in a cultural exchange to Xiamen, China, working with Malleon Ma, Zeng Huanguang and Yingmei Duan.

Rob A Newell 09); the Wakelin Award (2005); National Eisteddfod of Wales Gold Medal for visual art (2003); Mostyn Open prize (1997). He was the only European artist short-listed for the inaugural Artes Mundi international visual arts prize (2004).

Tim has also initiated curatorial projects such as Ground, Locws International and Strata, and has given master classes on site-responsive practice in Dublin and Tallinn. His work has been purchased for several public collections, including: the Arts Council Collection at the Hayward Gallery, London; the Harris Museum, Preston; the National Museum, Cardiff; the Glynn Vivian Gallery, Swansea; the National Library of Wales; the Contemporary Art Society; the British Council.

Rob studied Fine Art at Wimbledon School of Art and Goldsmiths College. He has since completed a PhD at Swansea.

Rob has taught among other places at Hounslow Borough College, North Devon College and, since 1993, has been a Senior Lecturer at Swansea.

Rob’s work in painting and drawing has mainly centred on landscape, passing through certain distinct phases in relation to places, themes and formal concerns.

His ultimate concerns are with the rhythmic organisation of detail and mass, produced in landscapes by the interplay of physical forces over time. His PhD research explored the place of landscape painting in contemporary visual arts practice. Newell has recently shown work in the Welsh Landscape exhibition at the National Botanic Gardens of Wales and had a solo show: Environment into Landscape - paintings and drawings by Rob A Newell at Brecknock Museum and Art Gallery in Brecon (2003-04).

Harold Hope He is a member of the Royal Cambrian Academy and has also exhibited at Royal Academy Summer exhibitions in London.

His work is represented in private collections in Britain and the USA, and work has been purchased for the Brecknock Museum and Art Gallery.

Sarah Tombs Sarah Tombs is a practising sculptor. In a career spanning over 25 years she has undertaken numerous public commissions and exhibited widely both nationally and internationally. Her lecturing experience includes many art colleges, including, Wimbledon, Norwich and Canterbury Schools of Art, Bath Spa and Keele University.

“My lecturing career has spanned some twenty five years, during which time I have gained great pleasure from working with over 800 students across a range of art and design disciplines. These people have left an undeniable impression upon me at a professional and personal level.

Over the three years of the full time degree programme, student and tutor share a passion for the understanding and practical study of material processes and expression, a relationship which is further developed during preparations for the final year show.

This is a truly exciting and energizing time as the students emerge as potential practitioners, beginning to resolve and state with clarity their individual vision and language – a process that by then is understood to be a continuous one. It is at this point that the understated privilege of teaching reveals itself”.

Awards and prizes include: Arts Council of Wales major Creative Wales Award (2008Fine Art Staff Profiles

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Sue Williams Sue was born in Cornwall and currently lives in Cardiff. She is a Senior Lecturer in Fine Art at Swansea as well as being a visiting lecturer for other universities and conferences.

She has been involved in and has initiated a number of artist-led exhibiting groups and has been part of the 56 Group Wales, Ysbryd Spirit Wales, Artists Project and META. Her work has been selected for the Oriel Mostyn Open 13 and 15. She won the National Gold Medal in Fine Art at the National Eisteddfod in 2000 and was short-listed for the Artes Mundi Prize in 2006.

Her most recent solo exhibitions have been a Glynn Vivian touring show ‘small talk, high heels’ - including Oriel Mostyn, Llandudno, North Wales; National Gallery, Bulawayo, Zimbabwe; National Gallery, Harare, Zimbabwe 2007. In 2008 ‘small talk, high heels’ showed at Ormeau Baths Gallery, Belfast, Ireland. Her works “THROUGH GLASS” were shown in ‘Confronting the Image’ Beijing, China in 2008 and 2009. She has exhibited in Sweden, Brussels, Germany,

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Craig Wood France and many other international galleries. Her work is represented in many private and public collections including the National Museum and Galleries of Wales; the Welsh Assembly; the Glynn Vivian Gallery and the Contemporary Arts Society.

Sue Williams also works in theatre/dance collaborations, the production ‘SHH!’ being on tour in 2013 and has recently been nominated and selected for the Artist Pension Trust.

Craig studied Fine Art at Goldsmiths College, London, 1986-89, and he returned to live in West Wales in 1995.

Awarded Faber Castell Drawing Scholarship in Nurenberg,1993. PACA/University of Warwick Residency in Venice, 1994. DAAD Residency in Berlin, 1996. Gregory Fellow in Sculpture, University of Leeds, 1997-2000.

Wakelin Award, Swansea, 2003. A Major Creative Wales Award 2012 Craig has worked extensively throughout Europe as well as Scandinavia, Canada, America and Japan. He has enjoyed commercial representation through galleries in London, Paris and Turin and has worked with numerous national museums and artistinitiated projects. His practice continues to explore the range of possibilities offered by a broad site-specific approach. From largescale architectural installations, to more recent collaborative work formed around family and friends; Craig consistently works with ‘what is given’.

such as wallpaper and ceramics. He has no preferred materials, techniques or modes of practice, as each project offers new opportunities and demands appropriate ways to be realised.

Technical Support & Visiting Lecturers In addition to the technical support provided

by Alan Bower, Alison Warren, Gwyn Jones, Dan Butler, Pete Williams and Stephen Thomas, the Fine Art programme benefits from visits by a range of guest lecturers, including Dalit Leon, Sean Edwards, Fern Thomas, Julian Wild, Owen Griffiths, Alex Duncan, Angharad Pearce Jones, Anthony Shapland, Gordon Dalton, Rebecca Hind, Holly Slingsby, Terry Setch.

In recent work digital photography and video have been prominent, interplayed with an interest in more craft-based techniques Fine Art Staff Profiles

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Surface Pattern Staff Profiles 112

Linda Nottingham

Georgia McKie

Anna Lewis

Ainsley Hillard

Beate Gegenwart

Since graduating from Central Saint Martins with MA Design for Textile Futures, Linda has worked freelance, exhibiting and selling one off pieces through galleries nationally, and has produced work for companies selling internationally.

Georgia graduated from the Royal College of Art and has since been working as a successful textile designer with strong links to industry nationally as well as internationally.

The varied nature of Georgia’s experience is accessed across all pathways within the 2nd and 3rd year programmes. She teaches fabric and design concept development within the Major Project Modules, works closely with the Design Pathways and plays an active role in developing external links through competitions, live projects and exhibitions.

Anna Lewis teaches across the Surface Pattern Design Programme and is the pathway leader for our new Fashion Object pathway.

Ainsley graduated from Middlesex University with a First Class Degree in Constructed Textiles. A recipient of the James Pantyfedwen Scholarship in 2001 and 2002, Ainsley continued postgraduate studies and was awarded an MA in Visual Arts from Curtin University, Australia.

Beate completed two MAs, in Ceramics and Multi-disciplinary Printmaking, and regularly exhibits nationally and internationally.

Her specialism is in teaching dyed and printed textiles using traditional methods. Her current research investigates the potential of our large needle-punching machine to create innovative fusions of dyed, printed and manipulated cloth.

Anna’s input is in applied art, fashion, jewellery and mixed media techniques with a strong design and styling focus. Anna’s main area of research started out in contemporary jewellery design fusing mixed materials together such as silk, silver, wood, feathers and leather. Anna adopts both traditional hand made and technological processes such as laser, water jet cutting and digital print. Recent collaborations with fashion photographers and videographers have seen her role transformed into styling, art direction and production design. This experience allows for collaborative projects in the course across the faculty.

Exhibiting nationally and internationally Ainsley’s research investigates the physical and metaphorical construction of cloth and its relation to body, memory and space. Exploring a range of media, Ainsley combines traditional weaving with audiovisual technologies, print and photography to create site-specific installations.

Beate’s personal research is practice-based involving a range of media including laser cut stainless steel with subtle additions of vitreous enamel, works on paper and artists’ books. Conceptually, the focus is to investigate displacement and the condition of ‘in-between’ in an era of global movement and cross-cultural references.

Her teaching focuses on visual computing, digital textiles printing, laser and water jet cutting. She also contributes to the tutorial programme over all years.

Ainsley teaches Visual Studies, concept development, textiles and is involved in the practice-based tutorials.

BASurface (Hons) Photography Pattern Staff & Profiles Video

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Stephanie Tuckwell

Kate Coode

Angela Maddock

Sharon Cooper

Julia Griffiths Jones

Since graduating from Goldsmiths College of Art Stephanie has continually developed her practice, exhibiting her textiles, drawings and paintings both nationally and internationally.

She was awarded the Embroiderers’ Guild Scholarship 2005 / 06 and in 2008 won the University of Glamorgan Art Purchase Prize for her large-scale drawings on paper. More recently Stephanie has received numerous awards for her water-colour paintings.

Kate is a Demonstrator on the Surface Pattern programme her background is a BA in Ceramics and a PGCE, she is currently studying towards her MA Textiles. As a Demonstrator, Kate works in all areas with a specialism in digital and traditional printed textiles and digitally embroidery.

Angela teaches on the Contextual Studies programme with a particular focus on Textiles, Surface and Structure and is also involved in the practice-based tutorials on the course.

Since graduating in 2006 Sharon joined the Surface Pattern team as Technician Demonstrator in 2007, specialising in both Traditional and Digital Printed Textiles.

Sharon’s main passion & core skills are deeply rooted in traditional metalwork where some techniques are demonstrated within the course.

Julia is a Senior Lecturer on the BA Surface Pattern Design Programme. She studied for her first degree at Winchester School of Art and her MA at the Royal College of Art. She works primarily with metal and is currently exploring the juxtaposition of wire with digitally printed fabric. She has exhibited widely, including shows in London, Chicago, Eastern Europe, Holland, Ireland and throughout the UK. Her most recent commission, for the National Museum of Wales, was installed in The National Wool Museum in 2010. Her work is in several public collections including: the Victoria and Albert Museum, Bankfield Museum, Halifax, the Povazske Museum, Zilina, Slovakia, and The Museum of The Romanian Peasant. Awards and prizes include: Sanderson Art in Industry Award; Arts Council of Wales Creative Wales Award; British Council Travelling Scholarships and the Saltire Art in Architecture Award. Julia teaches drawing, concept development, wire work, practice based tutorials, and Advanced Creative Enquiry.

Her work is based on her experiences in the landscape with a focus on the intersection of land and sea. She orchestrates the observational and the gestural, the deliberate and the intuitive with fluid, sensory explorations of water-colour, graphite, charcoal, ink and gesso. Forms and marks dance across the surface of the paper to suggest a sense of space, light and time unfolding, evoking the transitory nature of the world.

Stephanie teaches visual studies, constructional stitch, hand and machine embroidery and contributes to the tutorial programme over all three years.

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Kate’s research is practise and theory based and encompasses a wide range of digital and traditional processes. Her current theoretical research looks at ideas of connections through cloth, often a handmade gift, and the marks, traces and nuances left behind by the maker or occupier.

Denise Kwan Denise graduated from the Royal College of Art and now teaches on the Contextual Studies Programme for First Year theory.

Denise is an artist and writer, her interest is rooted in questions of cultural belonging and their manifestations in found objects, physical material and written language.

Angela’s research investigates how we enjoy space/place and how we ‘touch’, are ‘in touch’ with each other. Her practice led research at the Royal College of Art explores proximity, distance and attachment in creative practice, primarily through knit. She is also engaged in critical writing on textiles both as object and process.

She recently resumed her studies on the MA Textiles Contemporary Dialogues & current practice based research involves a fusion of traditional metalwork and digital methodologies.

Surface Pattern Staff Profiles

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