Catching up with last year’s summer Intensives participants

Falmouth School of Art is currently accepting applications for its summer Intensives – 5-day studio-based courses for artists and art educators. We’re always bowled over by feedback from participants at the end of their week with us, but we have just caught up with some of 2016’s participants to ask them to reflect on their experience nine months on…

Burgundys in project space – Gwenyth Fugard

Abstract Painting participant Gwenyth Fugard highlighted the benefit she had felt of being among a group of artists for the week, having worked alone for three years since graduating in Fine Art from Central St. Martins. She also experienced a development in her way of working, as a result of the environment and structure of the course: ‘Though my own practice does not respond to abstracting from life, I found the projects set were hugely beneficial. I was taken away from my usual methodologies and the studio spaces provided were fantastic [and] enabled new approaches and ideas to develop quite quickly’. After finishing the Intensive last summer, Gwyneth successfully applied for a place on an MA at City & Guilds London Arts School.

Oversized Raincoat, by Karina Barrett

Wales-based artist Karina Barrett, who took the Figure Painting course, similarly valued the experience of community that shaped the Intensive week: “I enjoyed working in a studio with other artists – something I have not done since graduating” Within that context, she recalls, ‘I found the tuition to be of the highest standard and incredibly informative. As a professional, working, painter, I gained a lot from the advice given to me by both Jesse [Leroy Smith] and Ashley [Hold]’. Figure Painting participants also commented that the opportunity to work from a model for whole week was something that they couldn’t easily replicate as part of their day to day routine.

Amanda Jackson chose the Abstract Painting Intensive in order to develop her mostly figurative practice in a more abstract direction, and the course made such an impression that she will be joining us again this year. She observes, ‘The course gave me many ideas and processes, through tuition, critique and lectures, to set this development in motion’. In addition to this, she too cites working alongside other artists as an important benefit to her: “…the great experience of spending a week with other artists, to explore my own ideas but have others’ input and critique and discuss work and network with artists, some of whom I am [still] in contact with via social media’.

Amanda has continued with her practice, and has found the influence of the Intensive staying with her in her work, “Almost a year on, I have continued the work started in Falmouth, enjoying pushing my work ever further into abstraction. I have found that since the course, my work is much looser; I spend more time developing the work through direct painting – that is, exploring ideas on the canvas and seeing where it might lead – rather than planning and replicating.

Her week at Falmouth has resonated in her subsequent studio practice, as well as in the work she has produced since last summer: ‘I am more focused on my work, spending longer in the studio, so the course has given me discipline as well as inspiration…The back drop of the garden and grounds at Falmouth, which was used as a starting point for abstract paintings on the course, has led to a body of work that will be shown this summer as part of Leigh Art Trail’s 20th Anniversary show’.

For many, the Intensives have provided the opportunity to work differently than they would in their own home or studio environment, with learning and experiences that have lingered and resonated in their continued studio practice. For London-based Val Coumant, ‘[it] was exactly what it said on the label – intensive. I haven’t worked so hard since my Psychotherapy training in the 1980’s. Or with such absorption and excitement’. But for Val, ‘the greatest insight was how the pieces I liked best were fortuitous rather than planned. It was like the Zen story about learning to paint bamboo: you go and live in a bamboo grove, and watch the bamboo in spring, summer, autumn and winter; in the morning, at noon, in the evening and in the moonlight; in mist, rain snow and sunlight, year after year. And then you go away and forget about bamboo. That’s when the painting starts’.

2016 Intensives participants relax in the walled garden with a cream tea.

The lasting impact of the week of focused creative activity is something we hear repeatedly. Karina noted, ‘I find that the advice of my tutors still echoes in my head, while I work…along with the memories of a truly fantastic week’.

For more information or to make an application to Falmouth School of Art’s Intensives – this year offered in Abstract Painting, Figure Painting and Observational Drawing, see our website:

www.falmouth.ac.uk/fsaintensivesThe application deadline is 28 April.

Falmouth becomes a Partner in the British Council’s Venice Fellowships Programme

Falmouth School of Art has become a partner in the British Council’s Venice Fellowships Programme, and we are very pleased to announce that our first Fellow, attending the 57th Biennale Arte this autumn, will be final year BA(Hons) Fine Art student Abbie Hunt.

Exterior of the British Pavilion on the occasion of Sarah Lucas’s exhibition, I SCREAM DADDIO, at the British Pavilion, 2015. © Cristiano Corte.

The Venice Fellowships is a steward-research programme which brings together students and volunteers from partner universities and organisations across the UK, and provides them with a month at the Venice Biennale, where they split their time between invigilating the British Pavilion exhibition and conducting independent research.

Abbie has already taken part in a two-day induction in London, where Fellows received training in the practical aspects of stewarding and received support in developing their research ideas. She reflected, “Even after the induction, having this opportunity still doesn’t seem real. I’m very excited and nervous but after meeting the other Fellows I will be invigilating with in October I feel a lot more settled. The Fellowship has given me an instant network and I feel installed into another family as everyone was confident and friendly. There was a real buzz during the induction, as collectively we were positive and willing to learn and make these connections”.

Falmouth School of Art’s Director, Dr. Virginia Button, said, ‘I’m delighted that through our partnership in the British Council’s prestigious Fellowship programme, Abbie will be spending a month at the Venice Biennale this year. It’s so important for our students to continue thinking and engaging globally, and immersion in Europe’s most established international contemporary art exhibition is sure to  be really inspiring. I think it’s great that the Fellowship supports both professional practice and research, allowing graduates to really get the most out of the experience.’

untitled: dock: emptystaircasehoarding, 2014, Phyllida Barlow. Installation view, dock, Duveen Commission, Tate Britain, London, England, 2014. Photo: Alex Delfanne ©
Phyllida Barlow. Courtesy the artist and Hauser & Wirth

For Abbie, the Venice Fellowship will come soon after graduation, but her success in securing her place has already had an impact: “The Fellowship came at such a good time, as I come to the end of my degree, because it has given me a new sense of confidence and aspiration for when I finish and enter the real world. Having this amazing opportunity has really made me consider the pathway of working within a gallery context whilst still having the freedom to develop my practice”.

To secure her place on the Fellowships Programme, Abbie had to complete the British Council’s written application, from which a small number of candidates were shortlisted by a Falmouth School of Art panel to be interviewed by the British Council. Abbie’s research interests already aligned with this year’s Biennale – her dissertation included research on this year’s British Pavilion artist: “In terms of the Fellowship research, I am massively interested in expanding on my dissertation, as this surrounded Phyllida Barlow’s work. Being able to interact with the public and observing their responses to her exciting unseen exhibition will definitely take my understanding to a completely new level”.

Falmouth School of Art plans to keep in touch with Abbie and hear more about her experiences during the autumn. “I really don’t feel like I can anticipate the experience I will have in Venice until I’m actually living there”, she adds, “but it’s going to keep me going in the last few weeks before deadline!”.

Jessica Warboys, Falmouth alumna – talk at Falmouth and solo exhibition at Tate St. Ives

Hill of Dreams 2016, Performer Oliver Baggott, Video, High Definition, colour, sound; 11 minutes
© Jessica Warboys and 1857

Jessica Warboys,
Sea Painting, Dunwich, October, 2015
canvas, mineral pigments
Courtesy the artist & Gaudel de Stampa, Paris.

In association with Tate St. Ives, artist Jessica Warboys, who graduated from BA(Hons) Fine Art at Falmouth in 2001, joins us for a talk on 29 March, to mark her first solo show at a UK national gallery, at Tate St. Ives this Spring.

Warboys works across painting, performance, film and sculpture; her work is informed by personal or collective memories – historical, mythical or fictional. In her Sea Paintings, Warboys explores the connection between painting and performance, submerging damp, folded canvas scattered with coloured pigments into the sea, and allowing the movement of the waves to ‘paint’ the canvas.  The show at Tate St. Ives will feature films, sculptures and paintings, including two specially commissioned works:

Sea Painting, Zennor 2015, was made on the Zennor coast near St Ives.

Hill of Dreams 2016, is a new film that draws from Welsh fantasy writer Arthur Machen’s book of the same name, that relives his memories of rural Gwent, where Warboys was born a century later. Hill of Dreams has been commissioned by Tate St Ives, Casa Masaccio, San Giovanni Valdarno, Italy and Kunsthall Stavanger, Norway and will tour to each of these venues throughout 2016−17.

Warboys currently lives and works in Suffolk and Berlin and has enjoyed wide international exhibition success, including solo exhibitions. After graduating from Falmouth she completed a Masters of Fine Art at Slade School of Art in 2004. Her work was recently included in British Art Show 8.

Register Here for Jessica Warboys’ talk on 29 March, 6pm, Lecture Theatre 1, Falmouth Campus. Please note the later than usual start time.

Jessica Warboys at Tate St. Ives runs from 31 March to 3 September 2017.

Beatrice Brown – THE N0THING SERIES – 23 March–23 April 2017

Falmouth BA(Hons) Fine Art alumna Beatrice Brown is about to open her first solo exhibition in London. ‘THE N0THING SERIES’ is curated by James Birch and opens at Gallery 46 in Whitechapel on March 23, 2017 until 23 April. 


The works in this exhibition bear witness to inner visions that Brown has had from as early as six years old, when she transposed her inner turmoil and confusion onto seeing the ‘Fire Child’, a character that spoke to her from within the flames of a hearth. The sheer compressed power of the sculptural work is analogous to the potency of material transformation in alchemy, of the Jungian Nigredo, the black beginning – The Nothing Series.

Beatrice graduated from Fine Art in Falmouth in 2013, and was shortlisted for the Midas Award in that year, exhibiting that autumn at Millennium Gallery, St. Ives (now Anima-Mundi). Her solo exhibition features a new collection of drawings.

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Gallery 46 is a new art-space from Martin J Tickner, Sean McLusky, Martin Bell and Wai Hung Young in Whitechapel, London’s long-standing centre of radicalism and independence, has developed from the non-conformist curatorial approach they deployed at Redchurch Street’s infamous MEN Gallery.

http://gallery46.co.uk/Exhibitions/beatrice-brown-the-nothing-series/

http://beatricebrown.net

 

 

 

 

 

 

 

Invitation to ‘Boatanicals’ Celebration at Princess Pavilion this Sunday 19 March at 1pm

The Big Draw ‘Boatanicals’ is now in place at Princess Pavilions for all to see. Those who took part include; Penryn College, Constantine Primary School, Marlborough School, Falmouth Primary School , Falmouth Young Women’s Group, Foundation Diploma in Art & Design students, BA(Hons) Illustration students, postgraduate students, Make and Take Community workshops and the general public. Contributors ranged from 2 years to 80+, and there are around 300 flowers and boats or hybrids of the two.  Weather permitting (no persistent gales we hope) the installation will be up for a month. There will be a celebratory gathering this Sunday 19 March between 1 & 2 pm, and at 2pm there will be a press photo shoot.  This ‘planting out’ celebration coincides with the Falmouth Spring Flower Show, which is held at the Princess Pavilion this weekend, 18-19 March.

This project has been really successful, thanks to a committed team of Foundation Staff including Tilly McKerrow, Emelia Wharfe, Sarah Hayes and Jane Chetwynd, plus some keen students from both the Foundation Diploma in Art and Design and MA programmes.

A Facebook page has been set up for ‘Boatanicals’ which will include updates and more information about the project: https://www.facebook.com/The-Big-Draw-Falmouth-1871001206500975/?ref=aymt_homepage_panel

Installation by Fine Art graduate Sandi Carr in the Clearwell Caves, Royal Forest of Dean

Sandi Carr, 2016 graduate of BA(Hons) Fine Art at Falmouth, has installed 450 metres of cotton wick in her latest site responsive art work, which has opened at Clearwell Caves in the Royal Forest of Dean,
 Gloucestershire, where she has been undertaking a residency.

Founder of Flow Contemporary Arts, Carolyn Black, writes of the installation:

‘The forest has some fascinating places that many people consider to be merely tourist destinations. Yet some provide brilliant locations for contemporary art to be shown in, and Clearwell Caves is one of them. The exhibition by Sandi Carr that opened last night, is one worth seeing. If you take a peek at her website you will see she’s interested in visceral materials, and this new installation reflects that’.

Check out Sandi’s work here: http://sandijade.weebly.com