Upcoming Exhibition: Becky Haughton, Senior Technician for FSA

Becky Haughton

Becky Haughton, Senior Technician for the Falmouth School of Art will soon be exhibiting a selection of screen prints and photo etchings in the Picture Room at Newlyn Art Gallery.  Becky’s screen prints explore the landscape through the layering and morphing of drawings.  The exhibition will run from 01 – 30 July 2016.

There is an opening night on Thursday 30 June from 6.30pm which also marks the start of the summer exhibition across both Newlyn and the Exchange Galleries by artist Imran Quereshi, who will also be giving an introduction to his work at the opening at 7pm.

The Picture Room at Newlyn Art Gallery shows changing exhibitions of work for sale by some of the region’s most recognised artists.  The Picture Room offers the opportunity to purchase paintings, prints and drawings with the profits from sales made directly supporting the Gallery’s education and exhibition activities.

The Edge of Printing – Exhibition at the Royal Academy of Arts


© Virginia Verran ‘Pink/Red (Not Here) 2016 Etching 1/6’

Virginia Verran, an Associate Lecturer for the Falmouth School of Art, is currently showing a series of 4 new etchings in an exhibition at the Keepers House, Royal Academy of Arts in London.  The Edge of Printing opened on 27 April and continues until 23 October 2016.  It is co-ordinated by Tess Jaray RA and presents work from Tim Head, Richard Plank, Saori Parry, Anne Desmet RA, Tom Lomax, Peter Freeth RA, Cathy de Monchaux, Tess Jaray RA, Guilia Ricci, Trevor Sutton, Rebecca Salter RA and Virginia Verran.  Also showing are two Falmouth alumni, Onya McCausland and Andrea McLean.

Celebrating the developments within contemporary printmaking practice including etchings, monoprints, lithographs, woodblocks, silkscreens and three-dimensional digital prints, this collection explores the way in which traditional techniques have evolved and examines some of the new technologies which are offering artists ever-changing methods of producing work.

The RA describe Verran’s work:

“Verran’s intuitive line creates boundaries and demarcations, repetitive patterning, and graphic symbols. These etchings explore a multifarious space with multiple viewpoints.

Primarily a painter, Verran’s imagery evokes layered and atmospheric space in which there are suggestions of peripheral movement; both human and mechanical. Her work also utilises symbols that suggest a darker preoccupation with global anxieties and fears of war and dislocation.”

The Edge of Printing is the fourth in a series of exhibitions presenting limited editions and unique works for sale, online and onsite, by Royal Academicians and other significant contemporary artists.

Unstable Monuments – a Juggernaut of a show – Old Bakery Studios, Truro


Dick Jewell / Kathryn Ferguson / Bernhard Holaschke / Sam Bassett / Robin Monies / Andreas Gloel / Stephen Smith / Matthew Benington / Marianne Keating / Adam Hogarth / Jesse Leroy Smith / Jack Davis / Roger Thorp

Curated and produced by Jesse Leroy Smith, Associate Lecturer on Falmouth’s BA(Hons) Fine Art and Falmouth University alumni Matthew Benington and Sam Bassett.

Unstable Monuments brings together 14 established artists from London, Germany, Denmark and Cornwall whose practice employs painting, installation, quilt making, film, shoemaking, posters and print.

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This immersive transformation of an ex-industrial warehouse sees these artists exploring dissolution and change within society’s structures and touchstones with reference to faith, gender, architecture, migration, anthropology, family, dance and ritual. A monument can be seen as an inflexible state of mind.

 From Ireland, London, Cornwall, Copenhagen, Cologne and Berlin, we all grew up surrounded by monuments of former, now defunct industries. Rather than commiserate these monuments as potential losses, it made more sense for us to utilise and reengage them with fresh function. The cultural processing of ruins can only be aided by this process. For spaces to remain habitable they must be subject to change. Inner city architecture risks monument status, when it cannot be touched, tampered with, changed, or even seen through.’   Matthew Benington.

Cornwall offers the curators the ideal environment to launch Unstable Monuments. With the mining legacy permeating a vital and raw landscape, its building and sites are latent with possibility.

With the show evolving this year to be taken to other sites (Cologne, Amsterdam, Brighton) the team sees the region as the perfect breeding ground for their approach to exhibiting. Through collaboration with public partnerships, reclamation of civic space and re-invention of redundant buildings the show can be a catalyst for change. The three curators have an intimate knowledge of the county. At Falmouth University, Benington studied Fine art, Smith has lived in Penwith for 15 years and Bassett is born and bred in St Ives. All three have a commitment to the future of Cornwall. The momentum for this landmark show comes from a succession of immersive multi media shows curated by Smith. The Darkrooms at CAST, Helston 2013 in a boarded up Victorian school helped launch the Arts Hub, Revolver in an ex-car-showroom, now a gallery and Art 75 in the Jubilee Lido both in Penzance and Suspended Sentences in a Newlyn fish factory now to be an Art house cinema.

These shows brought together large collectives of artists, performers, educational organisations and the wider public to fully exploit the potential of the time and building. Students and artists with international reputations worked together to present ambitious artworks that can re define the reputation of the visual arts in Cornwall.

When Bassett instigated the show Limbo in an ex coffin store in Truro in 2013 a fruitful partnership began with those developing the Truro Festival. Neil Scott (Totally Truro) and the festival team have enabled the artists to fully engage with the wider public and make this project happen. The Old Bakery Studios is a large historic waterside building and the managers Nigel and Catherine King have kindly offered the artists the 8,000 square foot currently undeveloped ground floor space to work and present the show. The curators hope to profile the vision of Old Bakery Studios as a multi-purpose venue hosting art and music events, creative workspaces and studios, café and bar. The curators want to harness and celebrate the generosity of spirit and tenacity of these partners.

Taking this model of spontaneity, camaraderie and determination this show explores how our challenges can be confronted and re evaluated. Communities and displaced peoples, family structures and ancestries, faith and cultural icons are the fabric of this show. The curators will be hosting the 2-day event and they welcome the opportunity to discuss any ideas and feedback.

Turn and face the change, ch,ch ch changes   David Bowie RIP

Pliancy and weakness are expressions of the freshness of being. Because what has hardened will never win.” Andrei Tarkovsky.

The exhibition is open on Friday 8 April and Saturday 9 April from 11.00am – 6.00pm.  On Friday 8th April there will also be a social from 6.00pm to 11.00pm, all artists present, bar, music, incidents etc.  On Saturday 9th April from 3.00pm to 4.00pm there will be a curators’ tour of the show.  All free.  Children welcome with adults.  This event was made possible through the support of the Arts Council England and the generous support in kind of our partner organisations.  The event is held at the Old Bakery Studios, Blewett’s Wharf, Malpas Road, Truro TR1 1QH (around the corner from BBC Radio Cornwall).

Organic Chaos

Megan Fatharly has just completed her Foundation diploma in Art & Design at Falmouth School of Art and is about to commence on our BA Drawing course.  From 10 September to 10 October her work from her foundation course will be exhibited on the London Arts Board.  As Megan herself says, it is “a rather unconventional way to have my work displayed but I am thrilled to have been asked.”

Megan Fatharly 1

Megan’s inspiration come from the outside environment, the patterns and repetitive marks found on trees, stones and the shapes within the landscape. She recreates these patterns through texture, colour and mark-making often using printmaking techniques, “I have a love for the process of printmaking as I have a very chaotic, fast paced way of working.  I find the method of working meditative and repetitive which slows me down and helps me refine my ideas.”

You can see more of her work here.

And you can read her blog of interviews with artists and reviews of exhibitions at http://megansartspace.blogspot.co.uk

You can view the exhibition here: http://londonartsboard.blogspot.co.uk/2015/08/organic-chaos.html

Or in person on the corner of Vestry Road and Peckham Road.

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.



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. 

A woodcut alphabet

Current Foundation Diploma students specialising in Graphic Design and Illustration have designed a  woodcut alphabet. Each student presented two letterforms; the design was from an existing typeface of their choosing.  Six students then spent a morning printing them on the print presses in Foundation’s Wellington Terrace Studios, creating samples of different papers, and different press applications.

Photo (C) Callum Dean

Photo (C) Callum Dean

The idea behind the project came from Technician Becky Haughton, who through introducing a woodcut safety exercise encouraged  the students to carve letterforms in wood. The result is an alphabet made up of different letterforms which are available for use by all Foundation students.

Photo (C) Callum Dean

Photo (C) Callum Dean

Photography by Callum Dean, current Foundation student.

Introducing The Falmouth School of Art Intensives


The Falmouth School of Art | Summer Intensives

6 – 10 July 2015

The Falmouth School of Art has announced an exciting range of five-day Intensives delivered by its specialist tutors. Intensive courses in Abstract Painting, Art & Environment, Book Arts, Drawing, Figure Painting and Printmaking offer practicing visual artists an opportunity to make a step change in their work this summer.

Supported by daily one-to-one input from expert tutors – including some of Cornwall’s leading artists – participants can take part in studio tutorials, group discussions and practical sessions. Working alongside other practitioners in well-appointed studios and workshops in a unique subtropical garden setting, all conveniently close to Falmouth’s vibrant town centre and glorious beaches – there can’t be a better place for concentrated creative activity.

Taking its name from the original art institution founded in 1902, the Falmouth School of Art is part of Falmouth University, the UK’s No. 1 Arts University (as ranked by The Sunday Times 2014). For over a century visual arts have been practiced and taught at the institution, which has an established reputation for excellence.

Dr. Ginny Button, Director of the Falmouth School of Art has commented: ‘The School of Art is hugely popular with our students – understandably so, thanks to its unique combination of beautiful location, great facilities, inspiring legacy, pedagogic excellence and friendly, supportive atmosphere. I’m delighted to be able to open up our facilities to practitioners who want to further develop their work and their professional networks too.’

A two-day Introduction to Investment Casting in Bronze is also available 13-14 July.

How to apply and information: fsaintensives.wordpress.com

Further queries: SchoolofArt@falmouth.ac.uk or phone us on +44 (0)1326 370432