Conserving ‘Gerry’s Pompeii’
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Two second-year BA (Hons) Conservation students are set to take part in a new conservation project at ‘Gerry’s Pompeii’, the London home of artist Gerald Dalton. The project, due to take place when lockdown measures allow,  follows a successful campaign led by Dalton’s friends and family to secure funding to preserve the site specific collection of works left in his home after he passed away in August 2019, and open it to the public as a house museum.

Part of the extensive collection at Gerry’s Pompeii

Gerald Dalton was a prolific artist who made sculptures, models and other works mainly focusing around his interest in British history. Inside his flat, the body of work includes models of buildings in a variety of materials (wood, plastic, paper, metals, textiles) and found objects; small scale, mass produced sculptures that Dalton painted and modified; and framed works, mainly on paper, that he augmented and changed.  Painted concrete sculptures stand in the garden and along the towpath of the Grand Union Canal. These are sited along a wall decorated with tiles, pieces of mirror, found objects and other materials.

Monitoring the visible light falling on a framed print with an environmental monitor 

Second-year Conservation students, led by Art School Tutor and stone conservation expert, Jennifer Dinsmore, recently conducted a thorough conservation assessment of the site. The detailed assessment included material identification and observations to help understand conservation risks such as fading and chemical breakdown caused by exposure to light, or mould growth due to high moisture levels. It also involved monitoring the relative humidity, visible light and ultraviolet light at the site using specialist monitoring equipment. Visual assessments were made about the condition of some of the objects, the garden and of the building interiors, and risks from increased visitor access were considered. The group identified a priority list of treatments to minimise further damage to the site and objects, and noted the need for an ongoing maintenance plan for the building and the collection.

Conservation students, Cody Cochrane and Louise Davison, will join the team at the site to take part in a range of collection care measures and carry out environmental monitoring.  Louise explains the conservation challenges that lie ahead and what she hopes to learn from the assignment:

As a conservator the vast amount of modern materials used in the domestic setting creates an exciting opportunity. There are challenges to the project which involve establishing a system of cataloguing, stabilising the collection and assessing a priority rating within the collection. This, however, requires establishing the materials before treatment, through examination, monitoring and observations. As an emerging Object Conservator, the opportunity to be part of a community project that has been fiercely campaigned for, is fantastic. The project has scope to allow me to grow, learn and put into practice the knowledge and skills that have been taught at the Art School.” 

It is hoped that Art School Conservation students can have further involvement with the site in the following academic year. Tutor Jennifer Dinsmore describes the valuable learning experiences students would gain from working on Gerry’s Pompeii:

the conservation challenges presented by this unique collection would provide significant experience in dealing with modern materials, mixed media and understanding how to provide meaningful access to the site. Initially this could include students continuing with the monitoring programme and carrying out detailed condition assessments of the objects and could involve students on the existing Stone, Wood and Decorative Surfaces pathway as well as our new Books and Paper pathway.”

Our MA Art & Material Histories is a research-based postgraduate qualification that examines the use and meaning of materials in historic, contemporary and emerging art. It can be taken over one year, full time or part time over two years. Through lectures, seminars, technical and explorative workshops, site visits, tutorials and symposia, you will engage with leading experts in order to develop your own area of specialism and material understanding.  Artist and Researcher, Laura White; Co-Founder of the Institute of Making UCL, Martin Conreen; and Associate Editor Art Monthly, Chris McCormack, are a few of the visiting lecturers you’ll work with.

 

Students divide their time between the Art School’s extensive Library, studios, workshops and specialist facilities, as well as site visits and external workshop settings.  Follow this link to take a look around our specialist workshops and shared spaces.

Your research will incorporate theoretical insight with practical, hands-on enquiry and you will be encouraged to use this as the basis to explore the aesthetic, socio-political, philosophical and individual contexts in which various materials exist with the aim of developing a critical understanding of materially-focused artworks and art practices.

Drawing from a wide range of perspectives, the resources of London’s world-renowned galleries and museums, the MA Art & Material Histories will equip you with a specialist knowledge of materiality and its relationship to the field of art and research practice.

In this short Zoom interview, carried out at the height of the Lockdown in the UK, visiting lecturer, Laura White, reflects on some of the many aspects of her teaching on the course.

Read more about the MA Art & Material Histories course content here.

This course prepares you for a career in the arts sector with a broad range of future career paths open to you. You may choose to develop your career as a curator, gallerst, practising artist, writer or academic, or to move to one area of practice to another.

MA Art & Material Histories is validated by Ravensbourne University London.

 

If you’d like to speak to the Head of Department to find out more details or ask specific questions, we can offer you an online open day. To arrange an online open day at a convenient date and time, please contact us as at admin@cityandguildsartschool.ac.uk

Places are still available for entry in September 2020 on this MA course.  Find more about how to apply and application deadlines here.

Download a pdf of our prospectus here.

Click on the images below to enlarge them and see more of the course.

We offer BA (Hons) Conservation: Stone, Wood & Decorative Surfaces and BA (Hons) Conservation: Books & Paper (both three-year, full-time courses) and MA Conservation (one year, full time or two years, part time). If you want to study at postgraduate level but need to enhance specific areas of practice or knowledge before embarking on our specialist MA Conservation course,  we can offer you a bespoke plan with our one or two-year Graduate Diploma Arts: Conservation programme.

Our specialist Conservation labs and studios are situated in the Art School’s elegant Georgian building. Our BA (Hons) Conservation: Books & Paper course commences this autumn and has been developed in consultation with a number of leading conservation specialists at the Tate, National Archives, Fitzwilliam Museum and College of Arms. Students on this course will benefit from new, bespoke facilities specifically designed for teaching this conservation specialism.

The Art School has been providing high-quality conservation courses for over 50 years, developing an outstanding reputation within the heritage sector.

Conservation is the meeting-point of science and art – a fascinating blend of state-of-the-art forensics, aesthetics and traditional craft skills. As such, our conservation courses offer hands-on engagement with the craft skills employed in historic manufacturing processes combined with leading-edge scientific analysis and treatment procedures, contemporary conservation practice, humanities and the ethics, laws and regulations of conservation.

On our courses, you’ll benefit from small class sizes, expert tutors (all leading industry professionals) and specialist lab facilities including state-of-the-art laser technology.

Our extensive links with leading museums and private collectors will provide you with high-profile live projects, placements and a professional network. In the last five years, 100% of graduates have been employed in conservation within six months of graduation, including an annual funded internship in Venice. Many of our alumni have gone on to work within national museum and gallery conservation departments including senior conservation posts at Birmingham Museum and Art Collections, Historic Royal Palaces, the Museum of London, the National Trust, Tate, Victoria & Albert Museum, British Museum, Wallace Collection and Westminster Abbey. Graduates are also employed throughout the private sector with firms such as Cliveden Conservation Workshops, Plowden and Smith, Nimbus Conservation, Taylor Pearce Conservation.

Alongside the conservation labs and studios, our conservation students use other specialist facilities at the Art School. Follow this link to take a look around our specialist workshops and shared spaces.

BA (Hons) Conservation

During the first two years of the course, you’ll develop a deepening-level of  knowledge and skills in a wide range of specialist conservation topics including ethics, history and philosophy, legislation and preventive conservation approaches. Alongside these subjects, you’ll learn the science of conservation, including materials science and, through hands-on workshops, you’ll explore the historic craft skills used in the manufacturing process of the objects and artefacts you will treat. Engaging in modern conservation techniques, including laser cleaning and technical analysis using IR spectroscopy, UV microscopy and mass-spectrometry, you’ll work on supervised conservation projects with specialist experts, on artefacts loaned from our extensive, heritage network.

This will prepare you to develop your conservation practice further in your final year, when you’ll complete several remedial conservation projects, with supervision from your specialist tutors, involving historical research, material analysis, treatment proposal and application.

Find out more about the BA (Hons) Conservation: Stone, Wood & Decorative Surfaces course content here.

Find out more about the BA (Hons) Conservation: Books & Paper course content here.

MA Conservation

Our MA Conservation course focuses on complex advanced level Conservation projects and sets out to equip graduates to go on to become leaders in the field. It is designed for those who have either an undergraduate degree in Conservation or who have extensive professional experience within a conservation setting. The MA involves high level conservation projects, advanced conservation science, research, ethics and professional practice. The course culminates in the completion of an ambitious practical conservation project accompanied by an extended research and treatment report.

This course will prepare you to work on ambitious, or large-scale conservation projects as a specialist or project leader and to work as an expert in International contexts.

Find out more about the MA Conservation course content here.

All Conservation courses are validated by Ravensbourne University London.

 

If you’d like to speak to the Course Leader to find out more details or ask specific questions, we can offer you an individual online open day. To arrange an online open day at a convenient date and time, please contact us as at admin@cityandguildsartschool.ac.uk

Places are still available for entry in September 2020 on our Conservation courses. Find more about how to apply and application deadlines here.

Download a pdf of our prospectus here.

Click on the images below to enlarge them and explore the Conservation Department.

On our renowned Historic Carving courses, you can specialise in either woodcarving & gilding or architectural stone carving. Our carving students practice in recently refurbished wood and stone carving workshops and studios, which open out onto our courtyard garden.

Our BA (Hons) Historic Carving (in woodcarving & gilding or architectural stone) is a three-year full-time course. Our PgDip carving is 30 weeks full time or 60 weeks part time and MA Carving is 45 weeks full time or 75 part time. If you want to study at postgraduate level but need to enhance specific areas of practice or knowledge before embarking on our advanced MA Carving course, we can offer you a bespoke plan with our one or two-year Graduate Diploma Arts: Carving programme.

This film gives you a great insight into our Historic Carving courses, with a tour of our facilities and interviews with our wood and stone carving students.

 

The Art School has an unbroken tradition of teaching sculpture, stone and woodcarving since it was founded in 1879. We play a crucial role in keeping alive the skills essential for preserving the world’s most important monuments and buildings, and offer the UK’s only BA (Hons) course in the subject.

Our comprehensive and advanced carving courses will prepare you for a fulfilling career in architectural heritage as a professional carver or as a professional sculptor. Whether your ambition is to create new work in historic contexts or to restore sculpture and ornament, the aesthetic and historical knowledge you’ll gain on your course will be as important as your manual carving skills. You’ll benefit from our extensive industry links and heritage networks, with exceptional live projects and commissions supporting your professional practice. You will be offered unparalleled opportunities to develop your skills and knowledge as well as your professional practice experience and professional networks.

All our Carving Tutors are inspiring, established professionals and our generous tutor to student ratio means a tutor will always be on hand to offer guidance and support, and one-to-one supervision. All courses culminate in a final show which is an important platform to showcase your practice and often leads to commissions and future exhibitions.

Alongside the wood and stone carving workshops and studios, our carving students use other specialist facilities at the Art School. Follow this link to take a look around our specialist workshops and shared spaces.

BA (Hons) Historic Carving

The undergraduate courses begin with simple masonry and carving exercises, enabling you to develop skills in a progressive manner. Over the first two years you will progress to more complex ornamental forms including drapery and the human figure. You’ll develop observational drawing skills, modelling and casting techniques and focus on lettering. Alongside skill development, you’ll study the historical context of wood or stone carving and architectural ornament, giving you an essential insight in to the meaning and significance of historical forms of ornament.

In the final year, you will plan, research and execute major projects within your own chosen specialist area. This is your opportunity to demonstrate your technical expertise, design skills and aesthetic awareness, supported by evidence of your historical and contextual research.

Read more about the BA (Hons) Historic Carving course content.

 

PgDip/MA Carving

This postgraduate course has an emphasis on practical hand skills, research skills and problem solving, providing an excellent basis for freelance employment within the creative and heritage sectors. If you are looking to become a high-level, professional sculptor, stone or woodcarver, or extend the scope of your current practice, this rewarding course is invaluable. Its depth of focus enables you to produce final projects that demonstrate your analytical ability as well as your mastery of carving and related skills.

Based on your planned and agreed proposal or statement of intent, the program is designed to reflect your individual experience and your aspirations. It is an intensive course involving you in an ambitious self-initiated carving research project. The course is intended to be primarily self-directed and to complement your individual research interests and practical experience.

Read more about the PgDip/MA Carving course content.

 

If you’d like to speak to the Course Leader to find out more details or ask specific questions, we can offer you an individual online open day. To arrange an online open day at a convenient date and time, please contact us as at admin@cityandguildsartschool.ac.uk

All Historic Carving courses are validated by Ravensbourne University London.

Places are still available for entry in September 2020 on our Historic Carving courses. Find more about how to apply and application deadlines here.

Download a pdf of our prospectus here.

Click on the images below to enlarge them and explore the Historic Carving Department.

The bright and spacious fine Art studios are located throughout the Victorian, Georgian and loft-style buildings of the Art School. When you study fine art with us, you’ll have your own personal studio space that you can access five days a week.

We offer BA (Hons) Fine Art (three years, full time) and MA Fine Art  (one year, full time or two years, part-time). This short film gives you an insight into our Fine Art courses.

At the Art School, we don’t believe in a ‘house style’; instead, we will support you to fully explore ways of making and thinking, and develop your own artistic ‘voice’.  All our Fine Art Tutors are practising artists and because we have a generous tutor to student ratio, they’ll always be a tutor on hand to challenge and encourage you.

We are committed to the idea of ‘thinking through making’ with an emphasis on material understanding. In order to interrogate the integrity of materials further, we have developed a discussion series called Material Matters which sets out to explore a specific material through a range of approaches. We are also one of the few places in the UK where you can opt to learn about traditional hand skills – such as historic painting techniques, carving and bronze casting – alongside contemporary ideas, materials and processes.

 

On both the undergraduate and postgraduate fine art courses, you’ll have access to our range of specialist workshops and facilities, including our historic print room, wood workshop, glass workshop and foundry. All facilities are managed by expert technicians who will encourage and support you to develop the skills and confidence to explore processes creatively and independently.

Take a look around our specialist facilities and shared spaces.

The BA and MA Fine Art courses culminate in a final show, which provides an important platform for your work. The Shows are very well received, leading to commissions and future exhibitions, residencies and projects.

 

BA (Hons) Fine Art

The course structure provides you with the opportunity to develop your work in the wider context of fine art through the specialist areas of painting, sculpture, printmaking and drawing. The emphasis is on supporting and challenging you to develop an approach to art practice based on your own creative interests and ideas, alongside an exploration of questions about what painting, sculpture, printmaking and drawing might be now, given their historical roots, materials, processes and current discourses. Some elements of the course have a specific focus based on your choice of specialism, while group tutorials, live projects and other sessions, such as professional practice, are shared across the Fine Art course.

Find out more about the BA (Hons) Fine Art course content here.

MA Fine Art

On the MA Fine Art you will focus on a deep exploration of your own practice and its research territories and critical frameworks. Whether you are continuing after recently graduating in Fine Art or returning to study after some years as a practising artist (or from working in another related field), our aim is to help you to move beyond your current position, to exceed your expectations.

Our focus is on your individual development, so the course, while structured, is essentially bespoke. With regular, specialist one-to-one tutorial contact; easy access to technical facilities; South London’s burgeoning contemporary art scene and London’s unrivalled cultural heritage on your doorstep; critiques, talks and professional practice seminars by some of London’s most exciting artists; and, of course, the unique, creative cross-pollination of the Art School’s various departments.

Find out more about the MA Fine Art course content here.

 

If you’d like to speak to the Course Leader to find out more details or ask specific questions, we can offer you an individual online open day. To arrange an online open day at a convenient date and time, please contact us as at admin@cityandguildsartschool.ac.uk

Places are still available on our Fine Art courses for entry in 2020/21. Find more about how to apply and application deadlines here.

All Fine Art courses are validated by Ravensbourne University London.

Download a pdf of our prospectus here.

Click on the images below to enlarge them and explore the Fine Art Studios.

Our Foundation Diploma studios and workshops are housed in the expansive, loft-style studio building on Kennings Way, adjacent to our Cleaver Square building.

Our fast-paced and intensive Foundation course offers a focused, inspiring and memorable year which will thoroughly prepare you for further study or professional practice. Our aim is to help you develop the skills you need to go on to be the leading artists and designers of the future. Whether you intend to make an application for a BA course in these subjects, explore a personal interest or take the first step on a career, with this course you will be making an important investment in your future.

At the Art School, we are committed to an intensive and individual approach to teaching and our Foundation Diploma is rare in offering generous teaching and tutorial support from Monday to Friday with an exceptionally high ratio of staff to students. You will find that there are always tutors on site offering advice and running specialist workshops.

In the initial diagnostic phase of the course, you will rotate around the studios taking part in a series of workshops, tutorials and supported studio practice. We will encourage you to explore a range of art and design disciplines including a variety of approaches to drawing, painting, photography, sculpture, design communication, 3D design, printmaking and art and design history and theory.

Find out more about the Foundation Workshops.

Once you have identified your chosen specialism with the support of your tutor, you’ll be assigned a personal studio space where you will work for the remainder of the course. Workshops and tutorials continue to allow you to test materials and processes and produce a body of work, developing a comprehensive portfolio. You’ll also be supported in extending your documenting, application and interview skills.

As you start to work more independently, you’ll concentrate on a final project in the last part of the year and you’ll exhibit this work in the Foundation Show at the end of course.

Read more about the course content.

Explore the specialist facilities available at the Art School.

The City & Guilds of London Art School is an approved centre for the UAL Awarding Body, Level 4, Foundation Diploma in Art & Design.

If you’d like to speak to the Course Leader to find out more details or ask specific questions, we can offer you an individual online open day. To arrange an online open day at a convenient date and time, please contact us as at admin@cityandguildsartschool.ac.uk

Places are still available for entry in September 2020 on our Foundation course. Find more about how to apply and application deadlines here.

Download a pdf of our prospectus here.

Click on the images below to enlarge them.

In a recent interdisciplinary collaboration, BA (Hons) Fine Art alumna, Katie Lennard, commissioned alumni from two of the Art School’s specialist courses, to work with her on a roof-top installation in the City of London.

Katie was asked to create a sculpture for an office roof garden and chose to work with Stone Carving alumnus Edgar Ward and BA Conservation alumna, and current MA Conservation student, Miyuki Kajiwara, on the project. The stone sculpture is titled The Texel Stone.

 

The Texel Stone is carved in Portland Stone, incorporating elements of gilding in gold leaf, and is installed on a bed of Sedum and surrounded by wild flowers, lavender and olive trees. Cobbles edge the garden perimetre. Describing the project, Katie said: “Using 3D scanning, I developed my idea to interpret and enlarge (by around seven times) a shard of slate that I found at the Blue Lagoon in Abereiddy, Pembrokeshire, Wales in 2015.”

The Texel Stone project illustrates the inspiring creativity engendered by the Art School’s unique blend of specialist disciplines. Katie’s experience at the Art School has given her a deeper engagement with art’s materials and their potential. It has also connected her with the skilled makers who helped her realise the installation she designed. “For this commission, I wanted to use valuable, traditional materials and specialist skills to create an object that would evoke mystery and attract wildlife. Naturally, Portland stone was chosen because of its enormous potential and layered connection with London architecture. Had I not studied BA Fine Art Sculpture at the Art School, I would not have known where to start, or who might help me to achieve my vision.”

Katie chose to work with Edgar Ward who she describes as “seamlessly professional” and Miyuki Kajiwara, whose gold leaf gilding “transcends the work entirely“. She also attributes support from Art School Fine Art Tutor Frances Richardson as a positive influence on the work.

Katie tells us: “The piece is now situated about 100 metres from the Gherkin on a private, wild roof garden at the top of an office building and is named after the company who commissioned the work.”

Open days are currently available for the Art School’s Fine Art, Historic CarvingConservation and Art & Material Histories courses and you can book your place online. For more information about The Texel Stone, please contact Katie at katielen@hotmail.co.uk

 

Photos courtesy of Katie Lennard and Helena Pliotis

 

 

 

The Art School is once again taking part in Lambeth Heritage Festival with a historical walk around the Art School, exploring 138 years of creative endeavour.

The event takes place on Saturday 14 September 2019, 12 noon, and is led by Magnus von Wistinghausen, Director of City & Guilds Art School Property Trust. Those taking part will tour the Georgian terrace and Victorian Studios and learn about our history of championing fine art, historic wood and stone carving and the conservation of cultural artefacts.

The Historical Walk takes place during our MA Fine Art Show, 7th -15th September, where visitors can admire an outstanding variety and quality of artwork, that reflects the diversity of skill and technique fostered on the Fine Art programme at the Art School.

This is a free event and participants do not need to book. Anyone interested in taking this wonderful opportunity to glimpse behind the scenes of a real art school and learn its fascinating past, should arrive at the main entrance in preparation for a prompt start at 12 noon.

DATE:  Saturday 14 September 2019

TIME:  12 noon

VENUE: City & Guilds of London Art School, 124 Kennington Park Road, London SE11 4DJ

 

We are thrilled to announce that third year stone carving student, Sue Aperghis, has been awarded a place on the New Medallist Scheme from the British Art Medal Society (BAMS), for her medal design entitled ‘Seven Summits’.

Her design is inspired by Mallory and Irvine’s fateful attempt at conquering Everest in 1924. Dressed in just tweed clothing and crampon-less boots, the pair were unsuccessful in their mountaineering challenge.

Everest isn’t as much of a challenge to today’s adventurers with modern equipment and experienced guides, but perhaps a comparative feat would be the Seven Summits Challenge. The challenge is to conquer the worlds seven highest peaks and reach the North and South poles unaided.

Sue’s medal design is in recognition of this act of incredible human endurance, which she feels should be more publicly acknowledged.

The New Medallist Scheme provides Sue with a three-week placement in a medal-making course at a college abroad or an international medal workshop, one week’s work experience in the engraving department of the Royal Mint, access for one week to the medal collections of the British Museum  under the supervision of a curator of medals, and one year BAMS membership.

Earlier this year, Sue won Eric Gill Society Lettering Prize which was part of BAMS Student medal Project, for her piece highlighting the challenges and opportunities faced by those with dyslexia.

 

We would like to congratulate Sue for her brilliant work and look forward to seeing her stone carvings in the Degree Show, 25-30 June 2019.

 

For the inaugural year of our Material Matters programme, we chose to focus on wood.

As an invaluable material for artists, designers, craft specialists and architects, wood has been used through millennia to make every kind of artefact from the most essential to the most ritually significant. With over 100 different types of wood harvested across the world, its cultural and historical impact is profound and enduring.

To start our thinking on wood, we invited three of the Art School’s expert practitioners – Gerry AlaboneDavid MacDiarmid and Dick Onians – to engage in a conversation facilitated by Principal Tamiko O’Brien.

You can read an edited transcript of their discussion below or download a pdf here. If you would like a hard copy, please contact office@cityandguildsartschool.ac.uk

 

LONDON CRAFT WEEK

Our Material Matters theme was extended through our London Craft Week event in May 2017. Visitors enjoyed gilding demonstrations, exploring the woodworking studios and special demonstrations by visiting specialists from the Tokyo University of the Arts Historic Sculpture Conservation Lab.

The current subject of our Material Matters programme is pigment.

As essential key material for artists, designers, craft specialists, conservators and restorers, pigments have been used through millennia to image and ornate, from the most domestic object to the most ritually significant. With thousands of known pigments available across the world, their historic impact is profound and enduring.

To open our Material Matters: Pigment series, six of our expert practitioners, Tracey Chaplin, Andrew Grassie, Onya McCausland, Keith Price, Alison Seed, and Amikam Torren were invited to respond to a question by Robin Mason, artist and Head of the Fine Art Department here at the Art School.

You can read an edited transcript of their discussion below or download a pdf here here. If you’d like to receive a hard copy of the leaflet, please email office@cityandguildsartschool.ac.uk

PIGMENT PLANTING SCHEME

Our focus on pigment has been extended through a new planting scheme in the Art School’s garden which includes a range of plants used as the source of a variety of pigments. These include Rubia Tinctorium “Madder” – a red pigment extracted from the roots, and Vitis Vinifera “Grape Vine”, producing a vine black pigment from the charred stems. During a tutor-led workshop series, our students will harvest the plants and explore the pigment-making process.

LONDON CRAFT WEEK

As part of London Craft Week 2018, our event featured a pigment, colour and gilding display and demonstration area, a popular destination for visitors.  Art School alumna and pigment specialist Catalina Christensen,  gave pigment-making demonstrations using the egg tempera process and colour expert Jane de Sausmarez  informed visitors about colour theories. Art School Decorative Surfaces Fellow, Tuesday Riddell, demonstrated japanning and other historic lacquering techniques as used in her practice, and Rian Kanduth, one of our Conservation department tutors and gilding expert, showed visitors gilding techniques.

Tom Groves, Head of Art Histories, has been in conversation with Catalina Cristensen about her fascination with pigment and her environmentally-neutral practice. You can read more here.

We will be exploring pigment again during London craft Week 2019 and plan further activities focused on pigment over the next year.

 

As a response to the COVID-19 pandemic we are featuring our graduates’ work and research online this year in our Graduate Showcase, with plans for ‘IRL’ exhibitions in 2021. Join our mailing list if you would like to keep updated and we will send you invitations!

Our Graduate Showcase is launching very soon!

 

MA SHOW 2019 – EXHIBITION HIGHLIGHTS

Set within the atmospheric exhibiting environment of the Art School’s historic buildings, the MA Show features an outstanding variety and quality of work, reflecting the diversity of skill and technique fostered at the Art School.

The MA Show is the culmination of an intense period of study and development over one and two years. Major shifts in working practices, critical dialogues and new discoveries in materials and methods are all present in the work of our graduating students and can be viewed in the Show.

As well as pieces by our MA Fine Art students, the MA Show includes work from our MA Carving, Conservation and Art & Material Histories students. We also include work from the Art School’s Artists in Residence, Artist Woodworking Fellows, Print Fellows, Decorative Surfaces Fellow and Chair of Students.

Full details of the 2019 MA Show can be seen here.

VENUE

City & Guilds of London Art School
124 Kennington Park Road
London SE11 4DJ

 

MA SHOW 2019 – EXHIBITORS

Images L-R: Ema Mano Epps, States of Being; Raen Barnsley, IRL Yellow; Eleanor Watson, Scope (installation view); Nick Paton,  Attle’s luck:  Laura Hudson, The Baby Jesus in a Hazmat Suit

Paint is employed in a myriad of styles to create a body of work that enthrals and challenges the viewer. In Eleanor Watson’s work, diminutive oil paintings are hung over monoprints that reflect a sense of heritage and the English stately home, and suggest notions of escape and Empire.

Lucienne O’Mara uses oil on wooden constructs to look closely at perception, the fractured way in which we receive visual information, and the impossibility of being separate from what you encounter both visually and as a body.

In Maddie Yuille’s painting, moments of noticing are re-created in which interior scenes, devoid of people, become enlivened by the light falling within them. A heightened colour palette, applied in thin transparent layers to allow the white ground of the canvas to shine through, create a perfect translucency.

Laura Hudson uses visual derivé to sift through the mess of our times. Moving between drawing and painting lines are visible and metamemorial iconographies are duplicitous. The paint plays with the resemblance of things leaving an open narrative that is porous and contingent, darkly humorous and scripted with political intent.

Ru Knox’s large paintings hang poised between a spatial world of depth and form populated with suggested characters that hint at untold narratives that have an immediate confrontation with the raw materiality of painting. The paint has been blended and scrubbed in some areas, left to trickle and bleed in others, built up and scraped back again laboriously, in forceful pursuit of the final effect

Influenced by life growing up amongst the beauty of Florence, Verde Cordero Di Montezemolo is interested in the human condition and the commonality of feeling, emotion and experience.  Her work hints at the simplicity and universality of existence that unites mankind.

Meanwhile, in other work, a multi-disciplinary approach is explored to interrogate ideas and concepts. Hugo Flores’s work in paint, prints, video and sculpture addresses the fragility of memory, of shadowy and unreliable images emerging from the darkness and tests the potential relationships between materials and the images portrayed.

Spanning print, painting, collage, and sculpture, Raen Barnsley’s works appear to be digital in origin, until viewed at close range. Fascinated by the possibilities of contemporary imaging software, hard-edged abstraction, and cartography’s subjective depictions of space, her work reflects how her dyslexia affects her interpretation of written and verbal language, hinting at broken and suspended connections.

Working with painting, photography and collage, Joe Bucklow’s artworks explore the modern British landscape, particularly the desolate, forgotten, eerie or depopulated. The material process and painterly interventions to the photographic image allow a dialogue between the archival truth of the photograph, and the individual’s tainted recollection and experience.

Geraldine van Heemstra works with drawing devices and wind harps created from materials found on location. These instruments become extensions of her body, as they accompany her on walks, recording the intangibility of the elements contingent upon the interaction between human and nonhuman agencies. For Rachel Goodison, being human is epitomised by the juxtaposition of thought and behaviour, which can be at once absurd, joyful, light and dark. She sees this dialogue defined through child’s play and has created three-dimensional objects, working with everyday materials, and found objects, that encourage the viewer to see familiar things in a fresh light.

Tracy Whitehead uses collaged and cleanly cut abstract photographic images in her immersive installation, fascinated by the physical and psychic space that exists between the analogue and the digital, these two states existing alongside each other, contradictory but relational. Human form is suggested and implied, the body’s interior opened out into space.

The material properties of things interests Nick Paton. His installations can be seen as ‘material propositions’ depicting a collection of objects that have the potential to become something, or perhaps nothing at all. Materiality is also central to Charlotte Osborne’s work, investigating the unique qualities of a tantalisingly tactile set of materials like mud, toffee or wax, as the basis of the making process that will often include both durable and temporary sculpture, which then inform two-dimensional works on paper. Hybrid bodies and their biological processes that are psychologically and physically uncomfortable are the focus of these works.

Ema Mano Epps exposes the inherent properties of glass, cloth, paper and metal to demonstrate her emotive relationship to a physical experience. Tensions amongst materials in relationship with architectural space create a notion of harmony and balance set to defy logic. The result is a shared moment of calm caught in the physical and mental presence of magic.

The Art School will be presenting a selection of small paintings by Wendy Saunders (founder of Paint Lounge), who was studying on the MA course when she sadly passed away earlier this year.

The exhibition also featured the work of the 2019 artists in residence, Alastair GordonGray Wielebinski and Taku Obata who exhibited alongside the Artist Woodwork Fellows, James Boman and Ana Kazaroff, Decorative Surfaces Fellow, Polly Bennett and Chair of Students 2018/19, Clare Dudeney (MA Fine Art 2018), as well as an interim show by the MA Fine Art first year: Stephen Bell, Jyoti BharwaniClare DavidsonSuki JobsonLindsay PickettIan RyanAlexandra Sivov, and Graham Treadwell.

MA SHOW 2019 PRICELIST

With thanks to Winsor & Newton for their support of the exhibition.

 

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Our annual Degree Show is an exhibition of the outstanding work of our graduating BA (Hons) Fine Art, BA (Hons) Conservation Studies and BA (Hons) Historic Carving students.

As a response to the COVID-19 pandemic we are featuring our graduates’ work and research online this year in our Graduate Showcase, with plans for ‘IRL’ exhibitions in 2021. Join our mailing list if you would like to keep updated and we will send you invitations!

Our Graduate Showcase is launching very soon!

 

DEGREE SHOW 2019 – EXHIBITION HIGHLIGHTS

Fine Art

This year’s Degree Show features work from an eclectic range of practices and subjects. Installations include an exploration of death, loss and memory with subterranean exhibits of fur and bones encased in glass mouldings and a swarm of almost 300 individual ceramic vessels that draw on the Delftware tradition, combined with expressions of gender transformation.

Materiality is explored in sculpture and participatory art that focuses on objects or materials, particularly those in the domestic sphere, that spark interest for their formal qualities and for their potential in carrying meaning as the embodiment of ideas.

Spray paint and highly-coloured acrylics are used on large-scale canvases, depicting a fetus-like imaginary character representing the artist’s childhood, inspired by the iconic work of Charles M. Schultz. Meanwhile themes of nostalgia, temptation, seduction, consumerism and deception are explored through paint in works where photorealism sits next to a painterly brush mark and trompe l’oeil is used to challenge the viewer.

Historic Wood and Stone Carving

The exhibition features an interpretation in stone of Charles Sargeant Jagger’s bronze Royal Artillery Memorial depicting WWI Officers, fine examples of drapery carved in stone and lettering carved into a large roof slate from the Palace of Westminster.

Meanwhile, woodcarving and gilding students are exhibiting a range of breathtaking pieces from an ornate, gilded wall mirror inspired by a Rococo Chinoiserie Girandole design to an intricate cupboard in English Oak depicting the four seasons. Other exhibits include a colourful coat of arms honouring the Prime Warden of the Fishmongers Company Her Royal Highness, Princess Anne, and an imposing gilded wood and metal installation which depicts cycles on wellness and juxtaposes a medical aesthetic with organic elements, drawing on the maker’s own experiences.

Conservation

Conservation students exhibit their final year conservation projects that they have managed independently, with cultural objects loaned from private and public collections. The show features, amongst a range of exhibits, a Pietre Dure table top that has had its many loose and missing stone pieces reinstated to bring the piece back to its original splendour and an Italian, polychrome wood sculpture of St Gerard Majella that has been treated with algae to consolidate the flaking paint and significant losses have been restored.

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If you’d like to hear about our upcoming shows and events, submit your details here.

In response to the coronavirus crisis, we are featuring our graduates’ work and research online this year in our Graduate Showcase launching very soon! In the meantime you can enter our online Foundation Showcase here!

Join our mailing list if you would like to keep updated and we will send you invitations for our ‘IRL’ shows in 2021!

The Foundation Show is a celebration of the achievements made during our one-year Foundation Diploma in Art & Design. Students have interrogated and tested a broad range of creative disciplines and materials and chosen a specialism to focus on and develop. The work exhibited in this show stands as testimony to their dedication, resilience, and ambition, despite the constraints imposed by the coronavirus crisis. We wish them all the very best of luck and success in their future endeavours.

 

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Since 2016, the Art School has participated in London Craft Week, an annual event that showcases exceptional craftsmanship through a journey-of-discovery programme around the city.

In accordance with government and Public Health England, the organisers of London Craft Week have taken the difficult decision to postpone London Craft Week 2020, due to be held 27 April-3 May, until later in the year. We hope to take part in the programme and once we have carefully considered the viability of the Art School’s participation, we will update you.

During London Craft Week 2019, the Art School hosted the one-day Material Matters Pigment Symposium alongside the Historic Carving Open Studios. The Symposium brought together leading artists, conservators, curators and researchers to explore and interrogate pigments today within the broader context of their production and rich and varied pasts. This ticketed event sold out, with participants commenting that the diversity of speakers led to an insightful and informative day.

Each year we open our Historic Carving Studios, running our ever popular Carving Competition (thank you to Amarestone for donating the stone). Visitors can have-a-go at stone carving and make a special carver’s paper hat. We also host a variety of demonstrations of historic crafts and specialist skills taught at the Art School.

These events are free and open to all, with no need to book.

 

Come and observe the Art School’s students and alumni participate in The Big Circle Draw – A traditional drawing class with a twist!

So what exactly is The Big Circle Draw?

The Big Circle Draw is part of The Big Draw 2018.

A group of Art School students and alumni will sit in a large circle. With a continuing series of short exercises, each artist takes it in turn to play model and every drawing produced by the circle is captured digitally to form an animation that will grow as the afternoon continues.
The group will be taught by City & Guilds of London Art School drawing tutor and co-author of ‘Drawing Projects: An Exploration of the Language of Drawing’ Jack Southern.

At the Art School we see drawing as fundamental to all our courses. Under the direction of Diane Magee, our Drawing Studio is at the heart of the Art School’s activities, primarily focusing on the role that observational drawing plays in stimulating and facilitating the development of artists and crafts specialists across our Undergraduate and Postgraduate Degree and Diploma courses in Fine Art, Historic Carving and Conservation of cultural objects.

We welcome you to come and see our talented students in action and sketch along if you wish to create your own drawing.

Saturday 20 October 2018, 2-5pm

Foundation Studios, Kennings Way, Kennington, London SE11 4EF

Free entry

 

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The Art School’s online learning platform is Moodle, available at moodle.cityandguildsartschool.ac.uk

Students use Moodle to access a wealth of course information and resources, including timetables, project briefs, and assessment forms.

Weekly Art Histories lectures are recorded and uploaded to Moodle, allowing students to revisit the material alongside uploaded lecture presentations from home. Recommended readings are scanned and uploaded for direct access to core texts; and supplementary sources such as videos are posted to enrich the key course materials.

Research and study skills advice including essay writing tips, referencing & citation guides are provided on the site, as well as student support information; making it the central location for students to find information and guidance throughout their studies.

 

 

As part of the Royal Literary Fund Fellowship Scheme, the Art School hosts a professional writer for two days each week during term time. The Writing Fellow is available to help students with any type of written work, whether this is an essay, dissertation, artist statement or even creative writing, through one-to-one tutorials.

Previous City & Guilds of London Art School Writing Fellows include:

Click here for some samples of our previous RLF fellows’ work at the Art School.

 

 

The Art School sees drawing as fundamental to all of its courses. Under the direction of Diane Magee, the Drawing Studio is at the heart of the Art School’s activities, primarily focusing on the role that observational drawing plays in stimulating and facilitating the development of artists and crafts specialists.

For Conservators drawing is an important tool in enabling students to learn to visually analyse objects, to help ‘tune their eyes’ so that they can conduct the deep examination of surfaces and materials that the subject requires.

For Carving students drawing is an integral part of their daily carving practice as well as a way of thinking through complex 3 dimensional questions. An intensive week of drawing at the V & A museum provides carving students with a valuable opportunity to study carved and modelled sculptures and architectural ornament, while anatomy sessions ensure that carvers understand how to look and think beneath the surface.

For Fine Art students drawing can be many things and play many roles. Alongside the observational drawing sessions that are so useful in giving a grounding to the early stages of the 1st year, there are exploratory evening sessions available to all year groups that enable students to investigate their own creative approach to drawing.

For Foundation students the intensive drawing projects at the early stages of the course investigate drawing with many different approaches and include drawing-as-research day study trips, drawing for design and drawing as sculpture.

The Roger de Grey A5 Drawing Prize is an annual drawing competition open to students on all courses at the Art School. It is an opportunity for students to get creative through their choice of subject, approach or drawing medium. The only stipulation is that their work has to be A5 in size – an interesting challenge! Current entries are available to view here.

The Drawing Studio tutors:

Foundation students are free to use all the Art School’s resources and, in addition to this, there are four dedicated workshops alongside the Foundation studios which include:

– A casting and brush cleaning area.
– A workshop with a range of hand and power tools.
– A workshop that is set up with sewing machines, pattern-cutting and portfolio preparation table, mannequins and tailors dummies, vacuum-forming, wood working bench and an area for small-scale hot metal working – soldering, joining, jewellery tools etc.
– Computer facilities with associated printer, scanners and graphics tablets.

Expert technical advice, specialist ceramics casting techniques and kilns are available for students interested in working in ceramics.

The Art School has a specialist Glass Workshop with facilities for glass fusing, slumping, painting, sandblasting and also stained glass production.

There are 2 workshops dedicated to the processes involved in casting one at the main 122 Kennington Park Road site and one in the Foundation studio block. Our technical staff and a number of our tutors are highly skilled and knowledgeable about casting and a wide range of approaches to casting are supported. This facility feeds into all departments, and is interlinked with both the Metal and Ceramic Workshops. As well as bronze casting and ceramic processes such as slip casting, we also facilitate a wide variety of other mould making processes, including silicone rubber, waste and plaster moulds, latex moulding, body casting and resin casting.

 

The Engraving Room at City & Guilds of London Art School was established in the late 19th century. Today, it offers a facility for printmaking open to every student in the School, as well as Print Room Associates by prior appointment. It is permanently staffed and open five days per week during UG term time. Evening classes are held on Tuesdays.

Professor Norman Ackroyd CBE RA ARCA was instrumental in re-establishing the Engraving Room as a thriving centre for teaching and practice after being invited in 1995 to consider its potential for the future.

We focus on the teaching of traditional intaglio processes – including hard and soft ground, sugar lift, aquatint and colour etching. Teaching is delivered by practising artists working with etching. We want all of our students to achieve the understanding and confidence to make the process their own through a hands on experience. By teaching the full range of methods, we provide an historical context of the intaglio process and offer the same experience in terms of techniques, problems and solutions as that employed by Rembrandt, Goya and Picasso.

Our aim is to provide continuity and to keep the bridge to the Old Masters open. As more and more colleges and art schools abandon traditional etching, this position is becoming increasingly unique. While our core strength is the intaglio process, monotype printing is catered for on our off-set lithographic press. We also have a small silkscreen printing facility with a vacuum printing bed and a photo-stencil exposure unit.

Teaching in the Print Room is provided by five part-time tutors and several Printmaking Research Fellows. Jason Hicklin is the lead tutor and Head of Printmaking. Jason graduated from the Central School as a post-graduate in 1992 and was elected a member of the Royal Society of Painter-Printmakers in 1993. Christopher Roantree graduated with an MA in printmaking from the Royal College of Art in 2003, Laura Clarke is an MA graduate from the Royal College of Art, Niamh Clancy, who specialises in screen printing, is also an MA graduate from the Royal College of Art and Edward Adlington is an MA graduate from Camberwell College of Arts.

The Print Making Research Fellow is a part-time post initiated in 1998. It exists to provide a transition from post graduate study to the establishing of an artist’s own practice. The Fellows work two days per week alongside a tutor, gaining experience of teaching and perfecting practical skills. On other week days the Fellows are free to use the Print Room to develop their own work, providing a useful insight for the School’s students. All the current Print Room tutors were previously Print Making Research Fellows with us.

 

We maintain a small darkroom for traditional black and white analogue photography.

Starting your research: The Sackler Library

Our collection of books, DVDs and journals supports Art Histories modules across all programmes. Students can use the various rooms of the library to develop their research: whether it is searching academic databases for journal articles, writing an essay in the quiet study room, making copies in the periodicals room, or borrowing a book in the main library. Search the library catalogue to discover our collections.

Developing research skills

The librarian offers regular workshops on research skills, referencing and citations to all departments, starting with a course-specific library induction during the first week of term. Sessions coincide with Art Histories assignments, so students are supported throughout the process of researching, writing, and accurately referencing their written work. The library also holds a selection of research and study skills books.

Visiting other libraries

As they progress through their studies at the Art School, students are encouraged to make use of the wealth of outstanding specialist art libraries in London (including National Art Library at the V&A, Tate Library, Stuart Hall Library at Iniva, Wellcome Library), and are supported by the librarian in applying to use these external resources.

 

 

The Wood Workshop is available to all students in the Art School.

The wood workshop is run by artist David MacDiarmid. The workshop has a Thickness Planer, Jointer, Band Saws, Pilar Drill, Belt/Disk Sander, Bobbin Sander, Scroll Saw, Mitre saw, Morso Mitre Cutter, Wood Lathe as well as hand tools and power tools. The workshop is available for all students to use, but is most commonly used by painting students for making stretchers and frames. Painting students who make use of the workshop during their studies leave the course able to make their own frames and stretchers using basic equipment that they themselves will own. Woodcarving students use the facilities for reducing and initial shaping, and sculpture students use the facilities in all manner of ways for producing work. For the final year Show, students from all departments may want to use the facilities to make plinths, display cases and portfolio stands.

The Foundry enables students from across the Art School to cast in bronze and aluminium and to work with sheet metal.

 

The Art School has a computer studio running both Apple Mac and Windows systems in a comfortable room with views of the lush fig tree and garden in the courtyard below and the London skyline above.

All the Macs run an up to date installation of Adobe Creative Cloud (Photoshop, Indesign, Illustrator, Acrobat, Premiere Pro etc.). All computers run Microsoft Office. The room has several A4 flatbed scanners, with A3 size scanning possible using the MFP (multi-function printer).

Students from all courses are encouraged to use the computer facilities from image scanning and manipulation to word processing and Internet research.

There is an IT technician available to assist with learning how to use the facility.

There are additional computers in the Library and Foundation studios.

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