THE ART DEPARTMENT

Anna Seferian

My journey throughout IB Art has been unpredictable and has developed and expanded my artistic skill a great deal. During these two years the use of artists and their ideas have helped me to develop my pieces and produce particular and distinct work that I am very proud of. I was able to develop as an artist and improve not only my art skills but also my curatorial and critical thinking techniques. At the start of the first IB year, my first series of work was a mixture of Yayoi Kusama’s and Mona Hatoum’s style after visiting an exciting exhibition in London. The outcome was interesting but quite flat with no technical properties. In the subsequent paintings, decided to concentrate on distortion and abstraction within art, which gave me the freedom to develop imaginatively an idea. I also decided to challenge myself academically and technically in art by focusing on the extreme complexities and transparencies of depicting glass in a still life arrangement. Combining these two ideas, I decided to concentrate on the theme of distorted reality, not only with glass but also looking at the messages and meaning behind paintings. During my comparative study I explored the hidden messages and concepts behind the famous ‘Kiss’ paintings of Klimt, Magritte and Munch. By exploring how these artists ‘distorted reality’ using technical characteristics, I was able to create an element of movement using, for example, blending, colours and light. To then continue this journey, looked at the British sculptor Henry Moore. wanted to create a 3D piece where explored distortion, Moore was a great example as a sculptor who was best known for his monumental bronzes, which combined Abstract Art and Surrealism to create forms of distortion. To develop the sculpture I then decided to do an abstract painting using Henry Moore’s deformed sketches.

Sofia Tsetlin

In 2010 Bridget Riley exhibited her work in the National Gallery in London next to the Old Master paintings. Her geometric and linear work was created and inspired by works of art such as Mantegna’s ‘Introduction of the Cult of Cybele to Rome’ (1505-06), Raphael’s ‘Saint Catherine of Alexandria’ (about 1507), and three studies by Seurat. This idea of merging two completely different styles intrigued me. I started to pursue this idea and follow the lines and movement found within Old Master pieces. I decided to focus on one of my favourite art movements: the Renaissance. I combined the bold geometric lines of Bridget Riley with the pictorial energies found in the master paintings. In each of the works, imagined there to be a line flowing through the body, over the curves of the figures, following the compositions found within the paintings. explored this at length within my sketchbook, imagining that this line acted as a guide for the viewer’s focus. My first piece of work identified a new concept of appropriation. A movement that can be traced back to the Cubists but is more commonly found in the artworks of Duchamp such as the ‘Fountain’. The aim of my work therefore developed into an idea of creating a new situation and meaning by using iconic artwork. By doing so, I wanted to raise questions of originality, authenticity and authorship in my art. The line then became representative not only as a method of simplifying and modifying an original design but also as a symbol representing a clear divide of the past from the present. Each of my pieces should convey a familiar realism but at the same time not intentionally realistic. I wanted to represent that fine line between real and unreal. My work should ease the viewer in with its familiar imagery but equally create a feeling of unease and conflict with the deliberate ‘changes’.

Kate Michael

After studying for her A Levels at the Sir James Henderson School, Kate decided to remain in Milan to study a BA in Fine Art Painting at the Accademia di Belle Arti Di Brera. After graduating with a 1:1, Kate returned to the UK to complete her Masters in Fine Art at the UCA in Canterbury. Whilst studying her MA, Kate began to assist with the Foundation Art course taught at the University and to visit local secondary schools to help examination groups. This then encouraged her decision to qualify as a teacher in 2009 at the Canterbury Christ Church University. She has since balanced her teaching career and her AQA Art examiner role, with her life as an artist, exhibiting in the North of Italy and the South East of England. Kate now is responsible for Head of Art at the BSM, as well as a year 12 form tutor and the school yearbook.

Christina Georgiou

After studying Fine Art at the University of the Creative Arts, Canterbury, Christina launched straight into her teaching career qualifying as a teacher at Canterbury Christ Church University in 2008. Since then she has worked across the globe in a variety of schools, beginning with four years at a school in Kent, where she held the post of Head of Art and Photography. Christina then decided to travel to Rome where she worked at St. George’s British International School and her love for Italy flourished. Subsequently she moved to Greengates School in Mexico City, where she led the Art Department, before returning to Italy and joining The British School of Milan earlier this year.

CONTRASTI: OXFAM’S CONTEST ON INEQUALITY

Economic inequality in countries is spiralling out of control. For millions of people, extreme inequality is one of the main obstacles to overcome poverty. This is why Oxfam is on the frontline to fight inequality worldwide. This can’t be done without people engagement and active citizenship: asking students to create art pieces has been a way to suggest how visual arts can raise awareness of inequality and drive the message in a creative and powerful way. The art pieces presented for CONTRASTI will be voted by students in Tuscany engaged in a wider Oxfam project on inequality.

Galleria Michela Cattai presents Contemporary Art and Design works by some of the most important artists and designers of the twentieth century and collaborates with international galleries, public institutions, foundations and museums.