Short courses this summer – Falmouth School of Art Intensives

Falmouth School of Art Figure Painting Intensive

Falmouth School of Art Figure Painting Intensive

Applications are now invited for the Falmouth School of Art Intensives, our popular summer courses for artists, practitioners and art educators.

Taking place 3-7 July at our Falmouth Campus, we’re again offering a choice of 5-day ‘Intensives’. All are studio-based and provide daily input from specialist tutors including some of Cornwall’s leading artists.

Abstract Painting will be led by artists Simon Averill and Mark Surridge, who created and have delivered this stimulating course together for the last two years. Guidance will be given as participants explore a wide range of strategies, ways of thinking and processes for making abstract work.

Figure Painting, devised and delivered by artists Ashley Hold and Jesse Leroy Smith, promotes skills development and experimentation through daily practical and contextual workshops. Participants work from the life model throughout the week.

New for 2017 is Observational Drawing, delivered by Falmouth School of Art’s Drawing team who have diverse skill sets and expertise. Starting from the rich qualities of Falmouth’s coastal environment, the course is structured around practising observation skills in the field, capturing images from surroundings and building on those findings in the studio.

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If you’re looking for some time and space to develop or reinvigorate your practise this summer, find out more on our website – www.falmouth.ac.uk/fsaintensives. We’ll leave you with the feedback of previous participants…

“The intensive week reinvigorated me and I came home refreshed and ready to start new work.  I have lots of interesting threads to pick up on and gained new insights and ideas.  The tutors were brilliant and helped and suggested in very subtle ways that were completely personal to each participant.  It was exactly what I was looking for and I can’t wait to get working in the studio.”

“It has given me the motivation to pursue my work with greater commitment and energy and also to look more at the work of other artists, both current and historical.”

“The space allocated to us was truly fantastic and this generosity of space enabled us to expand into experimentation, which would otherwise not have been possible.” 

“There was so much that was memorable.  The beautiful setting of the campus and excellent facilities, the superb studio space, great tutors giving excellent lectures, a wonderful group of artists to be among, the social events and superb guest speaker were all wonderful.  Mostly I loved the time and space it gave me to think and work without distraction, but help and support from my fellow artists if I wanted it.”

“I loved the experience.  I was touched by all your thoughtfulness and kindness – the extra events you laid on for us.  I found the tutors’ input sensitive and supportive at all times.”

“The best thing I have done for years: It was like a creative vitamin injection. My practice traveled a very long way in a short space of time.”

 

 

 

 

 

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Falmouth School of Art Intensives – short summer courses for artists

Cornwall Today article (full, from CT)

 

Cornwall Today magazine has featured two of the artists who participated in the Falmouth School of Art Intensives last summer, Judith Brenner and Carys Wilson.

Application is now open (until 29 April) for the 2016 Intensives, five-day courses for artists, practitioners and art educators, delivered at our beautiful Falmouth Campus.

Choose from Abstract Painting, Figure Painting or Drawing. For application form and full details: www.falmouth.ac.uk/fsaintensives

 

Five minutes with… Naomi Frears

Photo: Naomi Frears by Steve Tanner

Photo: Naomi Frears by Steve Tanner

What are your current obsessions?

The music of Steve Reich, photographs of Wolfgang Tillmans, a poem by Nuar Alsadir, a talk by Liliane Lijn, the film Paradise: Love.

What is your first art memory?

Making a small, sticky painting – I must have been 5.

What is your relationship with Cornwall and how does it impact on your practice?

Cornwall is where I want to be almost all of the time. I love to visit cities, but in Cornwall I can think clearly and work, and it’s where a lot of the people that I love are.

Tell me about the last exhibition that stayed with you.

Nicholas Deshayes’ work in Lower Gallery 2 at Tate St. Ives is great and I want one of the tables.

http://naomifrears.com/

 

Naomi Frears is a tutor on the Figure Painting Intensive at the Falmouth School of Art, 6-10 July 2015.

Born in Leicestershire in 1963 Naomi Frears studied at Loughborough then Sunderland making bad sculpture and winning the printmaking prize. After riding her motorcycle across the world, she moved to St Ives in the late 80s to pursue her career as an artist focussing on drawing, printmaking and painting.

One of Cornwall’s leading artists, Frears was selected for Art Now Cornwall at Tate St Ives and recently had a solo exhibition of films, paintings and works on paper at Newlyn Art gallery.

Frears has exhibited widely in galleries and museums and is represented by Beaux Arts Bath and Rabley Contemporary. Her work in education includes giving public talks and leading workshops at Newlyn, The Exchange and Falmouth University as well as being part of the learning team at Tate St Ives.

Ideas around desire and loss; intimacy and distance are dichotomies that are vital to Frears’ work, both in feeding the constant search for meaning that is evident, alongside an incredible confidence and joy. Her enigmatic yet lucid work results from an instinctive interplay of sculptural, drawing, print-making and painterly processes, often depicting figures lost in thought in an internal landscape, or other figurative elements embedded in abstract grounds. In working and constantly re-working to arrive at a final image, it seems for Frears, to be a process of removal as much as things emerging: she reduces her means to only the most acutely necessary. Technically accomplished, her images have the capacity to convey the poignancy of human intimacy, which has both personal and universal resonance. She has recently extended her practice to include making work with moving image.