MA Fine Art
Contents Introduction 2020 Post Graduates Teaching Staff Fine Art Research Course Information
The UCLan postgraduates of 2020 are indeed a special breed. Not only did they complete the MA Fine Art course in extraordinary circumstances, and with such enthusiasm. They had to learn quickly a range of new IT skills whilst working in isolation, and remaining focused on their creative practice as the whole world shook beneath their feet. They began the MA Fine Art Course with the aim of gaining a greater understanding of their respective creative practice. The course is focused on re-defining the boundaries of contemporary fine art, interweaving practice with critical theory. We encourage creative thinkers and strategists to generate and develop debates around the ever-changing cultural landscape, and 2020 has certainly been a year of change. The course is designed to facilitate creative practitioners whilst encouraging a critical analysis of the specialist areas of their personal enquiry. The teaching strategy enables participants to define, develop, and sustain a high level of professional practice, and to complement an array of experimental approaches to making work. 2020 brought with it, new challenges for the creative practitioner, and called for new approaches to making art at home, among family, and neighbours. The social aspect of being an active member of any profession is valued here on the MA Fine Art course and students are encouraged to extend and engage in their professional network to include organisations, individuals, galleries, funders and companies that may offer future opportunities to support the sustainability of their creative practice. A new social realm is emerging, with online and open-air encounters leading the way. The UCLan 2020 MA Fine Art postgraduates will continue to strengthen the regions creative economy and cultural capital through self-initiated creative enterprise; forming collectives, establishing affordable studio spaces, running artist led galleries, setting up public programmes and delivering creative educational workshops.
Other activities include curating, carrying out residencies, and teaching the next generation of artists. With the launch of the 2020 online portfolio, their artwork can be seen all around the world and for a longer period. They are the first group of students to have two shows occurring simultaneously: the online portfolio and a show at The Harris Museum & Art Gallery. To achieve two shows under such extraordinary conditions is testament to the determination, enthusiasm and innovation of this special group of creative practitioners. And to top it all off, they managed to produce this course celebration book, which presents the fruits of their labours. As artists, we continually question the contemporary, and seek answers through critical debate and creative endeavour. This yearâ&#x20AC;&#x2122;s portfolio of work is an opportunity to celebrate the quality and depth, strength and creativity of all our graduates, staff and the growing reputation of the UCLan MA Fine Art Course. William Titley: MA Fine Art Course Leader
Went Viral We needed to find a name for our year’s catalogue and decided something that reflected our current situation would be fitting because of the most un-usual circumstances in which we found ourselves. For the first time ever, the country – along with the rest of the world - had gone into ‘Lockdown’. Person to person and group contact had been banned and our position now was to work from home and make the most of things in the best way we could. As we were all mid-MA and had had to learn new skills using ‘Teams’ to communicate with tutors, it seemed sensible to continue with the same platform to meet up for our catalogue discussions which we’d already agreed to having a hand in. The group met, from various locations one morning and began to thrash about a few propositions. After some discussion, it was agreed that as ‘virus’ was applicable to both computers and our current situation we’d like to refer to it in some form in our title. ‘Virtual’ followed shortly after and became the recurring buzzword before ‘Went Viral’ suddenly appeared and Teams fell silent whilst we gave it consideration. As conversation returned, other topics filtered in and out but we all, at some point, returned to the ‘Went Viral’ title and it was decided that was it. It reflected our current situation and implied that because we couldn’t ‘go live’ we ‘went viral’. Despite the unique and unforeseen events that happened upon us, and thanks to the advances of modern technology, namely Microsoft Teams and a previously formed WhatsApp group, we were able to extend the camaraderie we’d found as a live group and continued working together to produce the catalogue for our show. Lynne Shaw
2020 Post Graduates Jessica Bowness Hollie Burge Alexandria Eaves Sarah Feinmann Adam Findlay Alyssa Haddow Molly Holmes Claire Hopwood Lynne Shaw
Jessica Bowness My work involves layering small fragments of MDF board with a mixture of paint and other substances. These substances include baby oil, different types of glue, water, kitchen cleaner and pigments. I am exploring ideas of process, control and mark making. I listen to the materials, sharing the process with them. I collect them and put them together, but then my part is complete. The final step is up to them. Whether they blend or disagree with each other, how they dry, if they dry. It is all in their hands. At this point I am just observing. Letting the materials have control at this stage allows them to reach their own natural end point without interference. My work allows people to see what the materials create and have that same first-hand reaction I have when I look back at the boards once they are dry. Allowing them to guess what has been used where, and why one part is cracking; or why another part is shiny while the rest is matte. I want the audience to engage with my work and question it. The back of the pieces also shows the physical process undergone to complete work. I think it is important to show people the details of assembling a piece. The physical effort of attaching the boards together the right way using a marking system or numbers and seeing what is holding it all together. This side tells the story of when I am in control of my work and how the final piece came to be. For me my work is never to be taken too seriously. I leave all parts of the process in, including marks showing the same number written twice and needing altering, to boards that have other drawings on that I did not want to cover up along with scribbles of notes for measurements. It shows the full thought process of the artist.
Instagram: jessicab_art Email: email@example.com
â&#x20AC;&#x153;In the Makingâ&#x20AC;? Materials: Mixed Media including a variety of paints, oils, primers and other substances
â&#x20AC;&#x153;In the Makingâ&#x20AC;? Materials: Mixed Media including a variety of paints, oils, primers and other substances
â&#x20AC;&#x153;In the Makingâ&#x20AC;? Materials: Mixed Media including a variety of paints, oils, primers and other substances
Hollie Burge My practice is an exploration of place through methods of ‘mapping’, to create a visual representation of a chosen location. I often choose locations or themes within a place that often go overlooked, exploring the location in detail to create a coalition of past, present, and future through visual representations such as actual maps, photography, illustrations, and text. I also experiment with methods of exhibiting to challenge the notion of how artists can display work outside of gallery walls. Mapping Preston High Street is a project I started, to explore the high street of the city in which I live and work. I wanted to highlight areas that might go unnoticed or not thought about by shoppers. This includes real stories from retail workers - submitted anonymously; these stories give a voice to people who are silenced by the fear of their job security, while presenting a viewpoint from ‘the other side of the counter’. I have also explored the economic hardship that the high street has suffered recently, by focusing on stores that have had to shut permanently, or retail units that remain empty. I have included imagery from Preston in the past and present, as well as text and articles providing a well-rounded view of Preston High Street. Presenting my work as an accordion book allows me to examine methods of exhibition exhibiting, it can be presented as a sculptural piece in a gallery or folded back and read as a traditional book. This continues to challenge my artistic practice to find the most effective way of presenting work in many places other than in a traditional gallery space.
Instagram: @hollieburgeart Email: firstname.lastname@example.org
Untitled pages from _Mapping Retail in Preston_ Medium: Collaged photography, with receipts. 2020 Size: 210mm x 297mm
Untitled pages from _Mapping Retail in Preston_ Medium: Typed text, Black on White 2020
Untitled pages from _Mapping Retail in Preston_ Medium: found poster depicting #fiverfest 2020
Alexandria Eaves As a moving image based artist with ASD (autism spectrum disorder) and having received a late diagnosis at 25 years old; I decided during my second year of MA to depict the feelings and experiences of myself and other autistic individuals when dealing with supposed professionals in the topic, based on outdated theories and heavily stereotyped, sometimes malicious misinformation. I do this in the best way I know how, through an exaggerated portrayal of character inspired by the cartoon franchise “Steven Universe” to convey the outlandish assumptions and assertions of these ill-trained people. Using the lore and themes presented in the cartoon series to create an allegorical series of interview questions addressing the drastic disconnect between the gems (an alien race that formerly tried to eliminate the human race and colonise Earth.) and their new human allies, intended to be an interactive, online series of videos in a “choose your own adventure” format, where YouTube links will take you to different questions depending on your answers. Whilst the editing and filming techniques are far from polished, it is part of the comical, if uncomfortable mood of my work.
Sarah Feinmann My creative practice explores urban dereliction and the throwaway society that consumes, discards and is left to decay. I use documentary photography to record the world around, as I am intrigued by those elements so often overlooked, reflecting moments of loss or change. As a multi-disciplinary artist, I work with photography, found material assemblages, printmaking and video. My intention is to explore deteriorating surfaces that expose their materiality, capturing the visceral elements that connect to a place and moment in time. Responding to bricked up buildings, apertures and barriers I make fabric assemblages from found and secondhand table linens. The structure and patterns of the table linens lend themselves to interpretation. There is also a connection of domestic nostalgic memories to everyday objects, of the “bottom drawer” collection and best tablecloth at family meals, that becomes marked or stained. I work with found materials that show their history, from ghost stitches to weathered marks left behind. I also distress materials and create blemishes by burying table linens in the compost bin or using eco printing to stain and mark the surface. During lockdown and the slowness of time, checking and “harvesting the compost” became one of my rituals and in turn became part of my practice. The lace becomes threadbare with large worm-eaten holes and linen is marked by worm trails and damp decomposing compost. I deconstruct the doilies and table linens to subvert their original shape. These are reconstructed by combining the ornate and commonplace patterns with natural framing and a variety of textures. My work takes a cyclical journey exploring found materials, distressed surfaces, layering, traces and trails. Website: http://www.sarahfeinmann.com Instagram: @sarahfeinmann Twitter @sarahfeinmann
“Equal Measure “ 2020 100 x 49 cms Linen Assemblage
“State of Isolation” 2020 84 x 62cms Linen Assemblage
“Notice Remains” 2020 Digital Photograph
Adam Findlay ‘What am I referring to when I say the word ‘I’? Where does my
sense of self come from? Am I conditioned by the media I consume and the societies in which I occupy?’ It is these questions which I have been investigating auto ethnographically throughout my practice. Heavily influenced by queer theory, Artists who use themselves as both subject and performer, such as Bruce Nauman & Vito Acconci, as well as character defining experiences or ‘snapshots’ which have helped form who I am, what I am and why I am. My most recent projects examine Susan Sontag’s theoretical studies written in her essay ‘Notes on Camp’. My practice aims to examine the cult name of ‘camp’ using video documentation, installation, and performance-based re- enactments. I intend to explore camp gestures, the camp aesthetic, and the camp environment. This process allows me to use my body, created spaces and the camera lens as mirror to examine the self as subject. Sontag states, ‘I am strongly drawn to camp, and almost as strongly offended by it.’ Similarly, I offer a new perspective on a subject which is not often discussed with the intention of self-edification. This action research will allow me to critic the roles I have inhabited – questioning how space, action and aesthetic have helped form and shape my own identity, which is evolving as I change the way I act, the spaces I inhabit and the way I carry myself aesthetically. My work is produced within a closeted space which I invite the audience to explore with me through open ended questioning. Camp is not a natural mode of sensibility; this is why I want to explore it and why I can.
Alyssa Haddow â&#x20AC;&#x153;I rest in the grace of the world and am free.â&#x20AC;? The Peace of Wild Things by Wendell Berry. This is a quote from a poem that brings me back to the present, acting as a reminder to not take myself too seriously. I used to have a habit of trying to make something happen when it really wasnâ&#x20AC;&#x2122;t likely to. I wanted to take a non-linear approach to exploring the expendability of materials. Keeping this a key statement in my mind while approaching my work. I decided that instead of interpreting mark making on a piece of paper, fabric or canvas. That I would use these mediums instead to do the mark making. Leaving a mark on our impression and how we see them. Art is a language that all people possess the ability to understand, but only as much as we allow ourselves too. From the gust of wind on paper from a fan, to the rustling of fabric and the feeling against our skin. Hearing one's own narrative when seeing simple things is due to the absence of much being there in the first place. Capturing these feelings through simplistic and minimalist installations and subliminal text is how my Fine Art practice developed from conception. We get these feelings from literature, cinema, philosophers, and of course fellow artists. Caressing the senses through curiosity, the need to touch, and the satisfaction is continuously caressed through what I hope, is portrayed tthrough my recordings.
Film still from "don't touch"
Film still from "don't touch"
Film still from “listen”
Molly Holmes My work focuses heavily on adaptive architecture and the Anthropocene, while simultaneously featuring elements of architecture seen in everyday life. Globally, natural disasters are occurring with increasing frequency, with the impact and aftermath often very hard to deal with. My drawings explore the different approaches that could be taken around the world to help lessen the impact of the climate disasters once they strike. Each individual artwork represents a different location around the globe, exploring how architecture could be adapted and developed to deal with the specific climate threats within that region. From the structural supports of buildings, to shaping the land around it. Splitting each piece into segments allows a lot of information to be condensed into one area, with the different angles taking the viewer on a journey around the piece. The choice to split the design instead of drawing it in full allows the viewer to engage with the work and complete the image of the final structure for themselves, giving them a much more personal idea of what it could look like. The choice to exclude colour from my work ensures there is nothing to detract from the focal points of the pieces. All unnecessary detail is removed so all that remains are key elements; from the different cladding that could be used on a building, to the actual structure itself. The buildings depicted are purposefully ones that we experience everyday such as housing, offices and schools. These buildings are integral to society so designing them to better withstand disasters is necessary.
Climate Adaption 2020 8.5 x11.7 ins Pen on Paper
Urban Architecture 2019 8.3 x11.7ins Pen on Paper
Pathways 2019 8.3 x11.7ins Pen on Paper
Claire Hopwood It’s difficult to quantify your practice when it’s such an eclectic mix of ideas, themes, interests and discoveries. Prior to starting a master’s degree, I was predominately, a portrait painter. I worked with ink and bleach and enjoyed the challenge of wrestling with the unpredictability of the materials; but once I became adept in using them, I lost interest, the fun was over. I also lost interest in making work that was driven by achieving a goal. So, now I no longer make work that is dictated by an outcome but let the process of making reveal itself – and I’m excited again. My creative practice is now a journey of ideas, actions, mistakes and reflections that results in physical pieces being made along the way. My current body of work was inspired by the surfaces I walked upon whilst walking through the farm and fields near to where I live and exploits the properties of melted plastic waste and acrylic paint to create abstract work that intrigues me: it feels as though I’m getting to the truth about what I want to say, although I’m still not sure what that is yet. I’m exploring themes of; macro and micro landscapes viewed from above, nature reclaiming back the land from man, the beauty of degraded surfaces, transformation of materials, and of the self through the act of making, alchemy, chaos and order. Along with other secondary themes that are floating somewhere behind the forerunners – yet to be revealed. It is the promise of finding the truth of this work that motivates me to continue making it.
Instagram: claire_hopwood9 email: email@example.com website: www.clairehopwood.com
Fused plastic waste and acrylic paint. 2020
Fused plastic waste and acrylic paint. 2020
Fused plastic waste and acrylic paint 2020
Lynne Shaw Exploring materials through a process of de-contextualisation, de-construction and re-emergence is the foundation of my practice. Using found imagery, hand-marked or gifted paper and other ephemera discarded and separated from its original history, I examine how unrelated fragments can be re-assembled to forge new relationships and generate surprise combinations. By utilising components of a personally selected and pre-archived collection of fragments, Iâ&#x20AC;&#x2122;m able to engage with and investigate how detritus from todayâ&#x20AC;&#x2122;s society can be transformed and question the preconceptions surrounding the production of and the value of art. It also allows me to make enquiry into the speed at which imagery is viewed or dis-regarded. The over saturation of images and the continuous availability of popular, mass-media magazines and newspapers are a constant source of inspiration. My interaction with collage and paint enables me to engage with and transform every day materials into something other. Enables me to re-present rather than represent. Iâ&#x20AC;&#x2122;m looking for the materialisation of something new resulting from the amalgamation of information already in existence. I search for new relationships and forge unions of various scale and technique that evolve from a place of unknown discovery.
I work in an organic and fluid manner, initially playful, that evolves into
artwork that displays a considered use of space with an overall balanced composition. My process leads me to a concluded piece often re-telling a story, conveying an emotion or revealing abstract forms. I work freely with my sub-consciously selected archive materials, until a point of emergence arises and I recognise a connection. This then sets a precedent and enables me to complete the work with purpose. Instagram: @lynneshawart email: firstname.lastname@example.org website: www.lynneshawart.com
4 x 6â&#x20AC;? postcards (24 from a collection of 80) 2019/2020
“Isolation” 2019 24” x 44” Collage and acrylic on paper
“Look Again” 2020 28” x 22” Collage on paper with acrylic paint
“Shanty Life” 2020 33” x 22” Found materials and acrylic paint
In 2019/20 the MA Fine Art course had a number of professional artists, curators and researchers teaching across the course. They value cross-disciplinary collaboration with international partners and local networks, and are actively pushing the boundaries of their respective fields of enquiry through exhibitions, publications, residencies, community engagement and conferences. Tracy Hill Prof. Lubaina Himid CBE Rob Mullender Prof. Charles Quick Maeve Rendle Heather Ross Faye Spencer Magda Stawarska-Beavan William Titley
William Titley is a Senior Lecturer and MA Fine Art Course Leader with experience of international exhibitions and residencies in the USA, Pakistan, India, and Europe, with work held in Museum Collections. He is a founding director of In-Situ, a not-for-profit arts organisation in East Lancashire. Today, he sits on the board of this socially engaged art project as it continues to push the boundaries of social arts practice. The organisation won ACE National Portfolio status in 2018, and has a permanent artists residential and activity centre in the heart of the community, in Pendle. As a PhD candidate at MMU Williamâ&#x20AC;&#x2122;s research into social art processes has an emphasis on his role as participant observer. Using audio-visual media, he is a participant, an artist and a member of the local community. By adopting artistic research methods, and making work in the place where he lives, his practice analyses social artistic processes from the perspective of the artist, adding to debates around what social arts practice is, and what its limits are in its original social context and within the gallery and systems of dissemination.
Heather Ross is a Lecturer in BA Fine Art and MA Studio Practice. She is a multi-disciplinary artist working and living in Preston, Lancashire. She works across a range of mediums which include: moving image, print, painting, drawing and performance, dependant on the subject(s) being explored. Heather’s research is concerned with finding new ways to connect with factual, instructional, historical and archival materials. Often employing the use of embodied experience as enquiry her process involves the use of re-construction and/or re-enactment – where materials are activated and mined for their creative and interpretative possibilities. The resulting work often provides a document of those interactions and places the viewer as an active agent in how meaning and knowledge are constructed. Heather is currently undertaking a practice-based PhD with Newcastle University, which concentrates on the German artist, Kurt Schwitters, with specific focus on his final ‘Merzbau’, The Merz Barn and on his years in exile in England (1941-48). She is working closely with the Hatton Gallery, concentrating on their archive, relating to the movement of Schwitters’ Merz Barn Wall from Elterwater to the Hatton Gallery in 1965.
Tracy Hill is an artist and joint research lead/coordinator of Artlab Contemporary Print Studios supporting research and specialist printmaking practice, Tracy’s practice explores developing technologies and innovative use of materials within the existing narratives of printmaking. Her specific interests focuses on the potential of developing digital technologies within the traditional analogue processes. Drawing, printmaking and digital translation combine to create immersive installations and paper works exploring how digital technologies change our understanding, engagement and understanding of landscape and the changing environment. Prints and drawing installations offer new perspectives to the fields of geography, archaeology and environment conservation. Tracy’s work is exhibited nationally and internationally most recently including The Triennial de Gravure, Liège (2020); National Waterways Museum, UK (2020); MPAC, Perth Australia (2019) and The Second Xuyuan International Print Biennial China (2019). Notable awards including, The European Printmaking prize (SMTG Krakow 2018) Awagami Paper award (2017) and RBSA Print Biennial prize (2016). Contributions to publications including Proximity and Distance in Northern Landscape Photography, Darcy White and Chris Goldie (2020); Thinking the Sculpture Garden, Art, Plant, Landscape, Penny Florence (2020); Living Maps Review (2019) and Imprint, published by the Print Council of Australia (2019)
Prof. Lubaina Himid CBE
As a painter, writer and curator, Professor Lubaina Himid has participated at an international level in exhibitions conferences books and films on the visual art of the Black Diaspora since the early 1980â&#x20AC;&#x2122;s.
Winning the prestigious Turner Prize in 2017, and being honoured in the Queens Birthday list in 2018, Lubaina investigates effective ways for artists to broaden relationships with museums. Using the often hidden or neglected objects in collections, she works with curators to broker conversations between these objects, museums and audiences, bridging the gaps between the histories and contemporary life. Current and forthcoming exhibitions include solo shows at the Harris Museum and Art Gallery, Preston, and at the Frans Hals Museum, Haarlem and group shows at the Berlin Biennale, Germany, at the BALTIC, Gateshead and at the Sharjah Biennial, Sharjah, UEA.
Dr. Rob Mullender-Ross received his PhD in 2011 from CRiSAP, which looked at how light could be used to synthesize sound. Rob produces sculpture, sound, 2D, performance and moving image works. Most recently he has performed Minor Conspiracy for adapted reed organ and eight breathing participants; Happy Ending - a site specific intervention for improvising musicians and massage parlour, and Ex Voto - a piece for 6 metres of nickel-chromium wire and mains electricity, in response to the Brunel Tunnel Shaft in Rotherhithe, London. He has exhibited and presented research internationally and in the UK, and was a Leverhulme Artist in residency at the Brunel Museum in 2016/17. â&#x20AC;&#x2DC;I produce sounding objects. Typically these take the form of sculptures consisting of different analogue (as distinct from digital) or acoustic sound production techniques. These are often then used in a video or sound recording, sometimes disrupting or colluding with the camera or recorder, articulating or modifying the surrounding space, be it physical and sensual, social and performed. Often, a performative aspect to my practice comes to the fore; pieces may require activation, or are contextually bound by relations with bodies and places. I think of these sculptural works as passing points, territories through which ideas and energy are changed and exchanged, or synthesizers which require the spectatorâ&#x20AC;&#x2122;s attention for them to operate through his or her engagement as watcher, listener or even operator.â&#x20AC;&#x2122;
Prof. Charles Quick
Charles Quick is a Professor of Public Art Practice at the University of Central Lancashire and has over 40 years’ experience of working as a teacher, artist/researcher and curator in the public realm. He has contributed permanent and temporary projects for cities across the United Kingdom. In 2003 he co-founded the curatorial project ’In Certain Places’ which since then has worked with regional, national and international artists to develop works for the City, revealing, critiquing and provoking new understandings of a place and its peoples. Quick was co editor and contributor to ‘Subplots to a City’ a publication which marked the first ten years of In Certain Places work in Preston. The Henry Moore Institute and Leeds City Art Gallery hold this work in their collections and he has recorded his artistic life through the British Library sound archive Artist’s Lives project. The Guardian, The Daily Telegraphy, Art and Architecture Journal, Arts Professional, A-N Magazine and the Sculpture Magazine, amongst others, have written about his projects. Over the years, he has won awards from Arts Council England, the British Council, and HEFCE. Recently he became the Chair of the Arts and Place national consortium, as well as sitting on a number of boards of regional arts organisation in the North West. email@example.com
Magda Stawarska-Beavan is a multi-disciplinary artist primarily concerned with the evocative, immersive qualities of sound, while combining a moving image and printmaking practice. She is interested in how soundscape orients us and subconsciously embeds itself in our memories of place, enabling us to construct personal recollections and offering the possibility of conveying narrative to listeners who have never experienced a location. Her outdoor public installations were shown as part of the TONSPUR programme in MFRU, Foundation Son:DA, Maribor Old Town hall, Slovenia (2017); Kapelica Gallery Ljubljana, Slovenia (2016); 28th Exposition of New Music Brno Festival (2015) and in MQ21 TONSPUR_passage / Q21 MQ, Vienna (2013). In 2011 she was commissioned to produce a sound installation in Preston City Centre, UK by In Certain Places (The Arcade). Recent Exhibitions and Performances: Sounds Like Her, New Art Exchange, Nottingham and UK touring (20172018); TIES, Toronto Electroacoustic Symposium (2017); Guanlan International Print Biennial in Shenzhen, China (2017, 2015); 10th International Biennial of Contemporary Print at Liege’s Museum of Fine Art, Belgium; Modern Histories vol. III, Bury Museum and Art Gallery, Manchester UK (2015); International Print Triennial, Bunkier Sztuki, Kraków, Poland (2015); Project AfterBirth, White Moose, Barnstaple, UK (2015); Circuit Bridges New York Concert (2015); Kinokophonography Night at The New York Public Library for Performing Arts (2015, 2014). firstname.lastname@example.org
Special thanks for your continued support. Stuart Hartley Nigel Lewis Jane Bennett Katheryn Poole Nick Rhodes Benedict Rutherford Prof. Sarah Perks The Harris Museum & Art Gallery The Catalogue Committee: â&#x20AC;&#x153;Went Viralâ&#x20AC;? Introduction: Lynne Shaw Cover: Alyssa Haddow Catalogue Layout: Claire Hopwood Sarah Feinmann Proof Readers: Hollie Burge Molly Holmes
There are three international research hubs in Fine Art. ‘Art Lab Contemporary Print Studios’ ‘In Certain Places’ ‘Making Histories Visible’
Artlab Contemporary Print Studios Artlab Contemporary Print Studios is a practice based research unit where printmaking connects with other creative disciplines and discourses. The focus of the research unit is contemporary printmaking through expanded practice, where international partnerships, collaborations and experimentation are at the core. Artlabâ&#x20AC;&#x2122;s creative approach into processes and developing technologies underpins the production of high quality artworks and artistic excellence. Two experienced researchers, Tracy Hill and Magda Stawarska-Beavan, who both use printmaking as a significant element of their own international research practice, lead the unit. The long-term vision of the studios is to promote contemporary print through an ethos of exploration and cross-disciplinary research approaches linking tradition and innovation. Artlab is currently engaged with multiple studios and research units both nationally and internationally contributing to a global conversation and repositioning of contemporary printmaking through academic writing and practice based research. Housed within the University of Central Lancashireâ&#x20AC;&#x2122;s Victoria Building our specialist printmaking facilities sit at the centre of the campus amongst multi-disciplinary studios, research units, exhibition spaces and extensive creative workshops. The unique facility provides a creative space and professional expertise for artists to develop projects where printmaking is an essential element within expanded practice. Website: www.artlabcontemporaryprint.org.uk Facebook: Artlab Contemporary Printmaking Studio Twitter: @ArtlabCPS
In Certain Places In Certain Places is an artistic research project, led by Professor Charles Quick and Elaine Speight, with the support of Rachel Bartholomew, in the School of Art, Design and Fashion. Established in 2003, the project seeks to generate new and creative ways of informing the future of places through an ongoing programme of artistic interventions within the City of Preston. Interdisciplinary in nature, and spanning a range of art forms, our work includes temporary public art works and architectural commissions, artist residency and research projects, and public talks, discussions and events. Collectively, these activities generate new understandings of the urban environment, enable new ideas to be tested in the city’s public spaces, and instigate ongoing collaborations between artists, academics, urban planners, activists, public institutions, businesses and other individuals and communities in the city and beyond. Our work in Preston is underpinned by and provides a focus for a wider engagement with art practice and the politics of place. By contributing to journals, books and conferences, and through our own publishing projects, we endeavour to share the methods, challenges and outcomes of our practice. Our commissions have also been presented in venues such as Modern Art Oxford, Museum of Modern Art New York, Bi-City Biennale of Urbanism / Architecture Hong Kong, and the Venice Biennial of Architecture. Current projects include Expanded City – a three year programme of artworks and events, designed to inform Preston’s City Deal programme, and Practising Place – a series of public and written conversations between artists and academics. Website: www.incertainplaces.org Twitter: @incertainplaces.org
People’s Canopy by People’s Architecture Office, commissioned by In Certain Places, 2015
Making Histories Visible
An ongoing interdisciplinary research project based in Victoria Building, led by Prof. Lubaina Himid CBE and supported by international curator Christine Eyene, continues to be a sustained exploration of the contribution of black visual art to the cultural landscape. The project gives prominence to, and a platform for, creative individuals, groups and communities who are, or have been, persistently marginalised historically, presently or indeed both. www.makinghistoriesvisible.com
Fine Art Course Information
Overarching aims and philosophy The overarching aims of the course are to design and realise a practice that explores the relationships between artists and art processes, places and audiences in the gallery and in the public domain. Students aim to demonstrate a significant creative and contextual practice related to appropriate debates in the contemporary, the social and the historical context. They demonstrate creative ambition by the production of an advanced MA Project & Contextual Report in relation to contemporary debates in Fine Art, and develop strategies, skills and creative networks to facilitate Professional Practice and employability. The Fine Art MA programme philosophy is one that is essentially focused on re-defining the boundaries of contemporary art, interweaving the practice with the theory to produce creative thinkers and strategists who will generate and develop the debates within the cultural landscape. The course allows students to develop a questioning attitude within a general Fine Art course and encompassing a common framework for post graduate study. The MA Fine Art Course at Uclan is designed to be completed full-time over one year, however the course can be completed part-time over two years.
MA Fine Art The MA Fine Art course seeks to develop a learning environment in which, new technologies, historical traditions and new disciplines confront and influence each other. The course focuses on how artists can build a practice, develop creative processes and understand gallery conventions.
Key Features Project led Research Cross-disciplinary modules Taught by members of the Fine Art Research Team International links with Contemporary Art Projects Access to networking opportunities, including residencies, commissions and collaborations. Please contact the course leader William Titley, to discuss an application or arrange an interview. email@example.com
You can view more work at our Portfolio Website https://virtualdegreeshow.uclan.ac.uk/course/ma-fine-art/