edge-zine 8 Time by Edge-zine

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Time...

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Front and back Cover Art: When Time Counts Provided by By Dawn Tomlin

Editors Notes

Tutor Thoughts: An Artists Residency - Clare Wilson

CONTENTS

Disclaimer: Despite careful control of the contents, we assume no liability for the content itself or of any external links. The operators of each interlinked site are exclusively responsible for the respective contents. Copyright: We hold no claim or credits for images, texts or other materials featured on our sites or publications. Unless otherwise indicated, all materials on these pages are copyrighted to the respective owner and artist. No part of the material published on our site or publications, either text or images may be used for any purpose other than personal use, unless explicit authorization is given by the stated owner. Therefore reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means - electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.

In one photograph we have the passing of time over one year.. Lynda Kuit. There and back again - Hugh Hadfield

A Time to be Free - Neil Cramond

Q&A: Holly Yates

Kenilworth from below - Samantha Sharpe

Buying time - Cal Hoy

Flora-Sculpture - Arlene Sharp

A Love Affair - Nuala Mahon

Traces of Time - Sibylle Herzer

Late Night Study - Melanie Brown

‘Presence to absence: flood to fire’ - Sue Gedda

Time, what to do with it - Michael Green

‘Busy’ - Susan Askew

I <?3 George :: oλ thanks - Gesa Helms

Mother’s memory - Kim Appleton

60 Hours - Alice Powell

Now and Then. - Helen R Jones

Underground Poetry - Stefan J Schaffeld

Do Not Go - Geraldine Leahy

When Time Counts - Dawn Tomlin

Deep Time Hybrid (Lichen meets) - Sue Parr

Beech Hill: A landscape in transition. - Amano Tracy

One Minute in One Year - Anna Goodchild and Deborah Johnson

Beneath the truth. - Steve R. Young

Time Travels with my Father. - Jonathan Lamb

Editor’s note: space be there

TIME - you are holding no8 of edge-zine – with a cover from Dawn Tomlin reflecting very much how time as clock can be an object but also an invisible inner sensation. Time also to look back at previous fabulous work done by other students - and we interviewed the former editor Holly Yates. Time has many different meanings, culturally and individually, hard to grasp if at all. A theme demanding variety of responses. We are quite pleased about the diverse submissions from photography, painting, drawing, illustration, mixed media, and moving images, underlying the complexity of TIME. We do thank all for their engagement and their generosity in sharing their work with us and a wider public, with at times intimate and personal narratives behind.

observing - walking

We are specially honored to feature painting tutor Clare Wilson who responded to our call with her verbal and visual reflection on her recent artist residency in Ireland. Her work is built on observation and being as an artist practice of making. Making takes times, and others, e.g. Alice Powell, looked specifically at how time leaves traces or how through drawing time can become visible as Helen R Jones explored and researched drawing. The sense of passage of time is a strong feeling articulated e.g. from a prisoner’s perspective (collaborative work of Anna Goodchild and Deborah Johnson), through material transformation by nature’s forces (Sue Gedda), or through walking visually documented as moving images (Gesa Helms).

Inscribing - feeling

One can feel in Geraldine Leahy’s intimate paintings how the passage of time does relate to loss and death, inscribed in the skin of the painting. Time can also be felt as an inner space through as the intimate series by Steve R. Young documents.

hurting - here – touching

Time can be felt deeply through life and death itself. Jonathan Lamb documented in his touching photography series the intimate relationship over time he spends together with his father whose health was in decline - and eventually he passed away, in the time between his making of the series and this publication. memory The loss as evidence of a passing time turns into a memory that became the subject in Kim Appleton´s drawing. A special thanks to our fabulous designer Amy who once again did the magic in turning this issue into a comprehensive visual journey. We invite you to explore this issue. edge-zine is a creative platform for sharing, showing, experimenting, and collaborating. In that sense, please let us know your comments as well as your creative suggestions and ideas for future issues. Stefan J Schaffeld

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Imprint: Editors: Stefan J Schaffeld, Catherine Banks, Michael Green Communication: Michael Green Funding: Catherine Banks Design & Layout: Amy-Sarah Opitz Contributors to this issue: Kim Appleton, Susan Askew, Melanie Brown, Neil Cramond, Sue Gedda, Anna Goodchild, Michael Green, Hugh Hadfield, Gesa Helms, Sibylle Herzer, Cal Hoy, Helen R Jones, Deborah Johnson, Lynda Kuit, Jonathan Lamb, Geraldine Leahy, Nuala Mahon, Alice Powell, Sue Parr, Stefan J Schaffeld, Arlene Sharp, Samantha Sharpe, Dawn Tomlin, Amano Tracy, Clare Wilson, Holly Yates, Steve R. Young. Publication is property of the open student collective of edge-zine, 2016-2019 Email: stefan513593@oca.ac.uk Publication platform: www.issuu.com/edge-zine Website: www.edge-zine.com Twitter: https://twitter. com/edgezine Facebook: https://www. facebook/edgezine Instagram: https://www.instagram.com/edgezine

Tutor Thoughts:

An Artists Residency By Clare Wilson

Cill Rialaig, the pre-Famine village on Bolus Head,

Co Kerry was rebuilt as an artists’ and writers’ retreat in 1992 by former publisher Noelle Campbell-Sharpe and a local community group. All year round, artist inhabit the seven small stone cottages, immersed in their own creative world without domestic distractions, Wifi or television. The two weeks I was awarded felt like a precious gift, not least because of the silence I cannot remember experiencing since my childhood in Northumberland. My interests as a painter are largely concerned with the shifting space of landscape and how this relates to the painting process itself. This leads me to investigate disregarded corners, hidden spaces, shadows and ambiguous forms while layering the surface of the painting, adding and removing pigment.

My first evening at Cill Riala rises above the artists cottage meeting of sea and sky, a disa greys and pinks. Having had previous experie point within the first couple of find your subject, your point f ‘inspiration’. This time I knew I wanted to ries of new paintings and had points into the landscape, inn From the path I could see wh into the rocks. Further investi ancient settlement with burial I had not expected these unfo

aig, I walked up Bolus head which es and stood mesmerised by the appearing horizon moving though

ence of residencies, I know there is a f days when you doubt that you will fo focus, or for want of a better word

find forms that would lead to a sed been thinking about portals, entry ner workings. hat appeared to be dark entrances igations led to the discovery of an l chambers and p assage tombs. orgiving cliff sides to provide the

portals I had been seeking - ones that held traces of the rites and rituals from early christian and possibly pagan times. Talking to locals it was revealed that this land had been used to bury unbaptised children, up until the 19th century. I am intrigued by the way the land carries imprints of memories, of past communities and their sorrows and secrets. It can also be a place to console, rejoice, remember, or just to be. The skies had a grounding effect, and with a sheep skull as a companion, I was able to focus on making work. With only two weeks, time was precious. But this was very different from a distracting, noisy, demanding two weeks in London, where time can disappear.

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Sketchbook studies My last evening and my final walk up the hill, reflecting on my experience. A time apart from â&#x20AC;&#x2DC;every day lifeâ&#x20AC;&#x2122; is actually a time to go deeper into what matters, and to reflect on where you are in your creative journey. Back in my London studio, I am in the process of developing my sketches and studies, referring to the dark chambers, the rocky outcrops, the disappearing horizon. And the silence. www.clare-wilson.com

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Clare Wilson oil on canvas

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Clare Wilson oil on linen

In one photograph we have the passing of time over one year... By Lynda Kuit

During the Landscape module I experimented with a time-stacking technique after having photographed the same view for 12 months. I combined all the months into one photograph changing the opacity of each layer to achieve a very painterly effect.

There and back again

By Hugh Hadfield

The images were created as part of a response to a brief that involved using reportage drawing to document a journey - in this case a journey on water. My subject was a short 3-day boat trip along a strip of the Southern Oxford Canal through the beautiful Warwickshire countryside. I used the exercise as research for an assignment so was experimenting with different media and techniques. I arrived at the boatyard just after lunchtime, checked-in at reception and waited under a large shady parasol for my sister to arrive. It was a Saturday which is switch over day and five boats were being readied.

Crates of beer, bags of food, children and pets ed from cars and stowed neatly away in locke

My sister arrived at 2:30 pm and we loaded ou narrowboat briefing and motored out onto the glorious sunshine.

The Grand Union Canal runs from the Tidewa the canal meets the River Thames at Brentfor Birmingham and Napton Junction marks the p Union Canal meets the South Oxford Canal. F we had decided to motor south towards Oxfor countryside.

Our objective for the first day was to moor-up Napton Locks; a long set of eight locks that ra in height and typically take 2-hours to get thro piece of engineering that dates back to the lat Iâ&#x20AC;&#x2122;d have stopped part way up through the lock but it was getting late and we needed to move After clearing the final lock we motored on for before mooring up against the towpath.

I woke early the next morning to make a draw canal before the sun became too hot.

We reached the turning point at Fenny Comp ning and thankfully managed to turn the boat spectators without incident.

We motored back to Knotts Bridge, and spent der a canopy of trees.

Our plan for day two was to motor down to Fe (bridge number 136 on the map), where there could use.

The weather was clear and hot with temperatu

I woke early the next morning to make a dra canal before the sun became too hot. 14

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s were being unloaders and cupboards.

ur gear, had our Grand Union Canal in

ay in London (where rd), for 137 miles to point where the Grand For our short trip rd through beautiful

overnight north of aise boats 16 metres ough. Itâ&#x20AC;&#x2122;s an amazing te 1700s, and ideally ks to draw the scene, e on. a further half hour

wing of the boat and

pton Bridge early evein front of a pub full of

t the night moored un-

enny Compton Bridge, was a turning point we

ures reaching 29Â°C.

awing of the boat and

We reached the tur thankfully managed out incident.

We motored back t canopy of trees.

Our plan for day tw there was a turning

The weather was stopped for lunch i moving on.

rning point at Fenny Compton Bridge early evening and d to turn the boat in front of a pub full of spectators with-

We retraced our steps on the final dayâ&#x20AC;&#x2122;s cruising and reached the top of the Napton Locks at lunchtime.

to a Knotts Bridge, and spent the night moored under a

Going down was easy, and unlike our trip up we benefited from traffic coming the other way which meant the locks were set correctly and could be cleared more quickly.

wo was to motor down to Fenny Compton Bridge, where g point we could use.

clear and hot with temperatures reaching 29Â°C. We in a shady spot and waited until late afternoon before

We spent the final night 45-minutes away from Calcutt Boats where we needed to be early the next morning. A combine harvester was working the field opposite and my last picture is of the partially cut field of wheat with the setting sun casting a golden light across the scene accentuating the colour.

Got a Date ? LET PEOPLE KNOW ! On this page we want to develop a calendar, where we can list your up coming events and exhibitions. You can get your date listed by messaging us over facebook or our website website,, make sure to include details such as: date, opening times, location and a small blurb about your event. Your edge-zine team.

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A Time to be Free By Neil Cramond

The recent upsurge in Scottish Independence triggered this work in progress which is oils in my A3 sketchbook. This was an experiment in building up layers of paint and incorporating some different images such as the Lion Rampant flag, suggested images of medieval infantry as well as the iconic statue of Robert the Bruce by Pilkington Jackson at Bannockburn. I wanted to capture a mixture of styles in this from the loose background where I have used thin applications of paint and scraped it with a palette knife to apply in the flag background with layers of white over the top, the infantry was a wet into wet splodging of the brush which just accidentally looked like soldiers then I added spears. The main focus was the detailed monochrome study of the statue where I used a limited palette of ivory black and titanium white and painted in an indirect approach. I start with the first layer just identifying lights and darks, then each subsequent layer refines the detail even more. The beauty of oil paint is that it is so versatile in the range of approaches you can use as long as you abide by the fat over lean rule, but the downside is the drying time. A multi layered approach requires a long time to complete and I still feel that after three months of working on this piece that it could still take more layers before I am happy and the length of time also resonated with the subject for this issue. Indyref 2 and Brexit www.edge-zine.com

In keeping with the “Time” theme our editor, Stefan Schaffeld , interviewed Holly Yates, OCA Graduate and the previous editor of Edge-zine.

Holly

years your r

I was i includ life an of the as I wa image was a

You s yours

I grew trained art co keen a dark r the sc

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I alwa creasi ed my throug mediu I realiz docto the Te

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It’s dif enoug about tions a of title I parti (base and d a dista moves It see are yo

I have tempo £15m now h in the 19th c has re butter 20

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y, you ‘ve been involved in edge-zine the last few

s. Please tell me, how did it happen and what has been role?

in conversation with a group of like-minded OCA students, ding Angela, who was looking at how art movements begin nd gain momentum. It was her vision that led to the creation e first edition of the zine. I contributed from the beginning as interested in being able to explore writing alongside my es and enjoyed the opportunity to work as a group which a rare opportunity as a distance learner.

said you were a distance learner. Tell me a little about self ... where are you from, where did you grow up?

w up in Kent surrounded by art, with my mum was originally d as a graphic designer and illustrator and went back to ollege to study textiles when I was a teen. My father was a amateur photographer. The bedroom next to mine was a room! I was unusual in the family by leaning more towards ciences and ultimately training as a doctor.

s quite an inspiring environment. What made you deto become an artist?

ays enjoyed drawing, and as a working doctor spent iningly more of my time enjoying making art. I actually starty creative journey in photography and moved naturally gh the disciplines before resting on textiles as a preferred um. I had a long period of ill health, and at this point when zed I would not be able to sustain a full-time career as a or, I was persuaded by Mum to take a leap and enrol onto extiles course with OCA. I haven’t looked back!

sorry to hear about your illness. Apparently, it was quite ning point in your life and how you became a distance er with OCA. What other projects have you worked on? h one was your favourite and why?

fficult to choose a favourite project as I have been lucky gh to always be working on what I feel most passionate t at the time. I have mainly been working towards exhibiand showcases in Dorset, where I try to have some sort e or brief to work to in order to produce a cohesive series. icularly enjoyed producing layered shadow embroideries ed on Indian chikankari embroidery) of my own imagery displaying them over painted or stitched backgrounds set ance behind the work, creating an interplay as the viewer s around them. ems you found your subject matter as an artist. What ou currently up to regarding artwork?

e been asked to curate and show an exhibition for the new orary space of our county museum when it reopens after a major rebuild in 2020. It is a huge opportunity and have had experience in presenting a ‘pitch’ that was included Lottery Fund bid. The museum was originally built in the century and has a huge collection of Victoriana. My work eferenced the natural history collection and is representing rflies and moths I have spotted over the past few years.

This is a truly amazing project. Many congratulations for your work. What has been your most touching or amazing moment you’ve experienced as an artist and as the editor of edge-zine? My proudest moment as an artist has been fairly recent, when I was selected to feature in a book and touring exhibition of drawing in Dorset. Doors are already starting to open, and I have been approached for shows in high profile venues. I was really touched by the feedback I got whilst editor of Edge-zine and have been really impressed with this issue. There seems to be a lot more collaborative working both in the zine and group exhibitions of students work than previously, which I think is a very positive move. That’s very good to hear from you, Holly. Yes, collaboration takes on an important role. Besides working with peers, which other artists or people have been inspirational to you in your work? Although not at all evident in my practice now, Tracey Emin has always been an artist I admire hugely for her take on expressionism and the raw quality she retains in her work. (I could write pages more but will leave it at that for now!) In terms of my current practice of acrylic on manipulated canvas, the exploration of materials by Bauhaus and artists such as Takesada Matsutani have influenced me. Talking about inspiration. What is your favourite or most inspirational place? It has to be my adopted home of the Isle of Portland. I have been influenced by its geography and social history for a few years now and still has so much to explore! Now, looking back, would you like to share something else with our readers of edge-zine? I can’t think of a good answer to this!!! Holly, I very much enjoyed talking with you and I am sure our readers will enjoy your insight. Big thanks for your work for edge-zine and I wish all the best for your creative future. Holly Yates (formerly Norris) is based on Portland, Dorset. She continues to practice as a part-time GP whilst pursuing life in the arts. She explores the extremes of what textiles can be, by innovative and experimental work combining fibre with ceramic clays and acrylic media, and layering shadow embroidery on sheer fabrics with other works. Drawing is at the core of all her work, and she enjoys finding and making her own pigments and dyes. Holly also works more commercially in digital textile print design and fine art printmaking.

info@www.holly-yates.com

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Kenilworth from below

By Samantha Sharpe

The premise is the effects of time on solid structures and how eventually after long periods of time our buildings will return to the earth without our intervention. The obscure viewpoint is to highlight the heights the building reached, and the journey it will make as it crumbles and falls.

Kenilworth from below Painted using brusho dye inks and gouache on watercolour paper. www.edge-zine.com

Flora-Sculpture By Arlene Sharp

The project brief to explore unconventional painting materials led to this piece. I wanted to remove any association with plant material and focus purely on colour, pattern and form. As it is a living sculpture it has gently withered. This video tracks its progress over a two-week period.

A Love Affair

By Nuala Mahon

Home that is an island in the south west of Ireland. The island measures 5km long by 3km wide. The community c

We bought this house in 1978 and until 1998 it was a holiday home. It was very primitive but all the more beautifu wild acre covered in brambles and nettles. Each year we returned for the month of August. A scythe was used to and another path to a washing line that was suspended between two trees.

In 1998 I returned from Africa and began to explore the garden. It started with one small flowerbed. Over the nex become my passion. It is a constant battle with the elements. Salt winds lash the island on their way to the mainla and hurricane Ophelia tore up trees as if they were twigs. Once the worst has passed we pick ourselves up and cr has left us. There is no diary of this garden but some images show how Kilmoon has grown and changed over time.

Then and Now:

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consists of 109 people.

ul for that. The garden was a cut a path to the front door

xt 21 years this garden has and. Structures are torn down reep out to see what nature

It grow

s and c

hange

s with

the ye

ars:

And the love affair continues... www.edge-zine.com

Rust on paper, 29x33,7cm

By Sibylle Herzer

Traces of Time

I count time in years, sometimes in seconds. I obey it in hours and minutes. I feel it in seasons and, increasingly, in my bones. I bid it welcome in birth and curse it in death. Sometimes I give it, sometimes I make it, at times I forget it and often I need it. To grasp it I need a mediator. A tree - an oak. As a sapling it heard the first church bells call the Vikings to service. In its prime it saw the Black Death wreak havoc in Europe. When Linneus visited it as a venerable old tree some two hundred years ago, its hollow trunk 28

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served as a tool shed for the local farmers. It is still here. It is still green. It still produces acorns that germinate. By my feet one of them holds up its first two leaves towards the sun, as yet overtowered by the grasses. The same grasses that a few steps away not even reach over the roots of the old oak. I wonder what this sapling will have seen by the time it is as high and as wide and as hollow as its mother is now. I cannot draw Time. But I can set the stage and let time make my drawing.

Late Night Study By Melanie Brown

This is a mixed media self-portrait, which I drew after seeing my reflection in the monitor of my computer while studying late into the night. It is possibly the least flattering picture of me in the world, but it captures my tiredness, frustration and the never ending feeling that I donâ&#x20AC;&#x2122;t have enough time to get everything done.

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â&#x20AC;&#x2DC;Presence to absence: flo By Sue Gedda

nprecedented damaging floods, prolonged droughts and bushfire are punctuating Queensland life with increasing frequency. This abstract work seeks to suggest our climatic diversity â&#x20AC;&#x201C; from watery to incinerated. Through the mix of pigment with locally sourced creek water, silt, plant matter and charcoal it explores the complexity and fragility of our local ecosystems in an environment impacted by anthropogenic influences. Process-led techniques manipulate the found materials and embrace chance effects allowing nature to almost paint itself. Fluid and granulating characteristics of watercolour help to suggest solubility, dehydration and charred destruction, depicting the presence & absence of water. The triptych presentation indicates the passage of time; the narrowed windows a possibility of limited societal awareness. In contemplating these extreme weather events I reflect deeply on my place and influence in the world.

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ood to fireâ&#x20AC;&#x2122;

Time, what to do with

nn Atkins was my inspiration her cyanotypes are fantastic. Mixing, Painting chemicals, exposing, washing and drying all took time 18 hours in fact. The most difficult thing was judging the exposure, the light changed so fast it took 40 minutes.

By Michael Green

I could have snapped with a digital camera but looking, feeling and thinking gave me a connection to these dried out withered plants because it took time to produce them. The process the plants have been through has taken a year. We must not lose touch with these things time is precious donâ&#x20AC;&#x2122;t waste it...

...Be creative!!

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‘Busy’

By Susan Askew

‘Busy’ is one of a series of drawings focused on disconnection resulting from over-use of mobile devices. This specific drawing is on a 11 x 9 in copper sheet using uniball biros and enamel paint. The drawing started with the phone box on the green in Settle as a reminder of communication at a distance before mobile phone use, and I went on to use a drawing of three boys who are bent on individual use of their devices, even though they are together. To enhance the idea of disconnection, as well as the idea that these boys are too busy to talk to one another, I distorted the drawing by cutting it into strips and rearranging the strips, before then transferring the rearranged drawing using grids onto the copper sheet. I left some sense of the grid in the drawing to further the idea of being cut off. I have included in this submission both the copper drawing as well as the earlier pencil and felt tip pen drawing. I hope that the ‘business’ of the drawing itself adds some sense of the obsessional amount of time spent with these devices and resultant isolation. The main challenge related to how to get a sense of coherence between the process and the subject and I was inspired by the work of Johnathan Owens who explores absence in his art using multiple process, including erasing and weaving together photographs. 34

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I <?3 George :: oÎť thanks

I <?3 George :: oλ thanks

This contribution is at once still, looping and linear. It does so even without us bringing our own temporalities to it: we may cast a fleeting glance, stare intensely, avert our gaze and furtively return soon after. Despite its split screen it is almost made in one, at once, along a single stretch of urban pavements and streets in a regional metropolis in Northern Greece. I chuckle as I write ‘regional metropolis’ as it’s the name I gave the town upon arrival. This name is borrowed from Bhanu Kapil’ (2011) Schizophrene. This name links the work explicitly to an earlier work of mine, the line. I returned to the town after I went to talk about this earlier work at a walking arts conference. All of Spring I had again been circling around the work that was and is the line. While I originally sought a photo essay it eventually became a piece of writing with three film strips. the line, as much as this current piece, features in ongoing discussions over what constitutes repetition, borrowing from previous work and what designates a new piece of work. These discussions form one of my current foci and the focus for proposing I <?3 George :: oλ thanks to Time: rupture and continuity and our respective leaning to one or the other; our negotiation of what happens when we, it, us shift across that edge of past/present, old/new, same/other. Movement in the line solely takes place across the audio channel: the ‘videos’ are still, the sound marks the passing of time. I <?3 George :: oλ thanks also moves in front of our eyes: in arresting (or, perhaps adoring) stillness, in a hectic, accidental, loop and in a linear progression along a pavement, a graffiti gleaned, more pavement, some cars, a kerb, some shade, a shadow, some people, crosses the road and then stalls at the kerb of another. It is this simultaneity of all three temporal modalities which made me author the piece as this: it is all three at once, it engages myself in composition to disentangle and reassemble, and invites you to glance with different attention across your screen. You can repeat or move on. Maybe you also disbelief what you just possibly saw. You may press repeat. This proposition is part of my current artistic research and practice at Level 3 for a Creative Arts degree. As much as the modality and register relates to earlier work, the line, the substantive focus: affect, movement and agency also resonates both with earlier work and my current project, drawing/contact: near space in an expanded field of drawing. Currently, I am testing across performative drawing and writing as well as a lens-based practice the idea of a near space as meaningful to relationship, affect and a sensorial field. The letter in the title is a Greek alphabet lambda (lower capital L). I think it is miswritten from a Latin -h- as the rest of the script is in Latin, and it looks vaguely like an ‘oh thanks’, but transliterates into an actual ‘ol thanks’.

By Gesa Helms

Motherâ&#x20AC;&#x2122;s memory By Kim Appleton

A1 Drawing in pencil on paper.

This still life is a bit of deviation from my normal chucking paint around! It shows an arrangement of my late mothers belongings that all mean a lot to me. This clock sat on my great grandmothers mantle piece and is still ticking! I am very impatient and I find it difficult to work in such a detailed way so I wanted to challenge myself to do something large and more descriptive.

60 Hours By Alice Powell

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Through my art, I am able to make sense of the world around me. My work is heavily connected to my surroundings and how I feel in different places. Bought up in Dorset and now living in London I am beginning to realise that I have a longing for an understanding of the natural world and a personal connection to the coast and the rural landscape. This piece was inspired by rock pools on the coast. I considered naming this piece and thought about calling it â&#x20AC;&#x2122;60 hoursâ&#x20AC;&#x2122;. After looking at a wide range of artists that use various types of mark making and relief drawing techniques I came to the conclusion of producing my own relief drawing following creases on the page (the creases on the page had been produced by manipulating the paper around rocks on the beach). This work was about focusing on producing a piece of work over a long period of time but I discovered a lot more than that whilst drawing. I started to look at physicality within a piece of work and also mindfulness drawing. The drawing started to form an interesting pattern, manipulating the surface into something almost mesmerising. Nor-

mally, at this p about what it next, how coul forced myself t decided to fill t Each A5 sheet I spent 60 hour that is an achie rush through i ing to make th next thing. The and frustrating time for relaxin had to focus o I could take th I wanted and too precious. I there were an though I found addictive. I enjo in my pencil t ened tip with a to the blunt e controlled mar As a result of drawing, I crea which imitates and I think y waves.

point I would start to think t meant, what I could do ld I develop this idea but I to ‘go with it’. From there, I the book with these marks. took me 2.5 hours. In total rs on this drawing. For me, evement in itself as I always ideas and drawings, wanthem better or go onto the e process was both calming g. It started to become a ng and ‘switching off’. I just on the line I was following. he drawing in any direction allowed myself to not be I didn’t rub anything out. If ny mistakes I left them. Ald it frustrating it was also oyed the inevitable change tip. The thin, newly sharpa fine, neat mark compared edge creating a wider, less rk. the way I used line in this ated a very rhythmic piece s the rhythm of the coast you can almost hear the

Now and Then. I am currently studying “Understanding Painting

Media” my third unit on level 1 of a painting degree. We were looking at collections and I happened to photograph my wrist watches. Each one evoked an emotional reaction in me as each one was bought for me at a particular moment in my life; starting high school aged 11years, my 21st birthday also the year I was married, my husband reached 25years working in the NHS and let me choose the watch for myself as I thought mine (21st birthday watch and found at a later date ) had been stolen in a burglary. My grandmother’s watch was given to me by my grandfather when she died in recognition of when I had helped care for my aunt (their daughter) when she was dying of cancer. This watch

By Helen R Jones had been taken in the same burglary but found by the police in a bowl of pot pourri at the bottom of the stairs in the young burglar’s mother’s house. My current watch was bought for me as a birthday present when I requested a more modern, white metal watch that needed no battery. I could put each watch on my timeline, drawn or painted but what does it mean to anyone but me? I was reading about drawing and how it isn’t always about observation and imitation but can be more about thought and ideas (Emin et al., 2008). The act of drawing a line or a mark takes time and I began to recall how I have, for as long

as I can remember, visualised time itself. Time travels in straight lines seamlessly and continuously but I think of it as lengths of time, from one point to another. Randomly making dots on a piece of paper I joined them with lines and reflected on what I had made. At each time point (dot) a decision is made consciously or unconsciously as to which direction (line) I should go next. Whether it was from the sink to the fridge or an employee to a retiree, time was spent. What is the drawing but the result of time spent, a series of moments in time that came to an end with the last line, each point was “now” but has become “then”. Kandinsky said that “the point is the proto-element of painting and especially the graphic” (p43). He also said “In nature the point is a self-contained thing full of possibilities”, for example a seed or a grain of sand (p47, 1979). For John Berger “the problem of time is the problem of choice and more emphatically decision-making” (Berger, 2018). In my images the time points do indeed represent moments full of possibilities, decisions to be made, but rather than being “a single sound” and “static” as Kandinsky (p43, 1979) describes them they are full of noise often unconscious but sometimes conscious as thoughts compete to single out the way forward. In his chapter on “line” Kandinsky goes on to say “the element of time is much more discernible in the line than in the point. The line is the track made by a moving point from static to dynamic” (p65, 1979). I would say in terms of time a line is a collection of points so close you cannot see a join and the sum gives the appearance of a line, although this amounts to the same thing. The points and lines in my drawings are respectively, of arbitrary position and length because it is impossible to know what they actually were.

form which is a circular plane (p69). The characteristic of line is to make a plane (1979). After drawing the white acrylic lines of varied length on the page, some more densely pigmented than others, the three-dimensional effect was revealed. The lines had created planes with spatial qualities beyond the picture plane and the drawings took on a new meaning for me. The first became “inner space” and the second “outer space” because the accumulation of lines at time points gave the appearance of stars. Time and space cannot be separated. What I have done is to represent the invisible by the visible. In these times of rapid data creation representing information and ideas in a visual format taxes people across the disciplines of art, design, archaeology, science and technology and the diagrams and pictures created can be considered art in themselves (Boyd-Davis et al., 2012). What I have not done is include the myriad influencing factors on decision-making at the imaginary time points, these are for the viewer to supply, now and then. Bibliography Kandinsky, W (1979) Point and Line to Plane. Dover Publications. Berger, J. (2018) ‘Painting and time’, Journal of Contemporary Painting. Intellect Ltd., 4(1), pp. 11–15. doi: 10.1386/jcp.4.1.11_7. Boyd-Davis, S. et al. (2012) Making visible the invisible: Art, design and science in data visualisation. Available at: http://eprints.hud.ac.uk/12775/ ADS-VIS02011 (Accessed: 29 August 2019). Emin, T. et al. (2008) Drawing Now: Between the Lines of Contemporary Art. London: I.B.Tauris &Company, Limited. Available at: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=677105 (Accessed: 18 August 2019).

The outcome of joining points with lines in “Now and Then” are several: the lines make the points bigger in size, Kandinsky describes this as “the point changing shape and growing into a new www.edge-zine.com

Underground Poetry

ake a pen, move on the paper from left to right back and force while moving, at station make circles till moving again, change the pen, each second station rotate the paper continue till your final destination

Travelling is dislocation in space, but also has an impact on how one subjectively perceives time. I am a frequent traveler, mostly between Germany, Switzerland, and - thanks for my art studies - London. My studio is partly dislocated in my suitcase, or at time in my backpack. Being mobile in space and time is part of what I am. During my recent stay in London for the live performance event for my collaborative project with music student Vicki, a fine arts-music inter-media screening work, I took the chance to breathe in the art culture. I felt inspired from my visit to an Oscar Murillo exhibition at David Zwirner and especially his series ‘Poetics of Flight’, drawings he made during his various flights. I felt some resonance with my own travel experience - and wanted to explore this further while still being in London. A tube ride, and in my case, a tube ride back to the airport, is always an experience. Looking at others, looking onto the floor. I did something else, I scribbled with my pencil in my sketchbook. Standing, still but still moving. My pencil moving in the rhythm of the ride. Repetition of motion and repetition of markings. Filling one page as an index of my journey- passage of time inscribed into the paper. I recorded in parallel the sound around me, a soundscape informing my work in time. Words are added, names of stations, a resting point, my pencil moves in circles. Time to breathe and relax – before it moves again, in a double sense. 46

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Although this work was inspired by Oscar Murillo’s ‘Poetics of Flight’ - and the title is a reference to his works - it is not a copy. Murillo applied quite some different approaches and his embedded words do have a different connotation. I found it absolutely fascinating how through travel motion, marks can be made in a constrained space through double physical movement: the underground (a linear trajectory) and my hand (small moves rotating the page) I could envision this as a topology, or as mapping of time spent. A repetition in multiple underground rides, on bus? on train? Endless options to capture time through travelling in space. And it is a social network thing, my markings connect – as social communication cam network as well. #artontheunderground features work related to the London underground, art made in and for. Being shared and made visible, in dislocated space the same time.

By Stefan J Schaffeld

Reference: - David Zwirner Gallery (2019) ‘Oscar Murillo’, At: https://www. davidzwirner.com/artists/oscar-murillo (accessed 24 July 2019)

#tube2flight

#undergroundpoetry

@stefanschaffeldart

#ArtontheUnderground

@transportforlondon

#stefanschaffeld

@aotulondon

Do Not Go By Geraldine Leahy

These pieces were Assignment paintings I did during the Painting 2: Mixed Media course. I had chosen to explore the theme of temporality and insubstantiality. I thought Dylan Thomasâ&#x20AC;&#x2122; famous poem, â&#x20AC;&#x2DC;Do not go Gentle into that Good Nightâ&#x20AC;&#x2122; would be an interesting starting point as it deals with loss, the passage of time and death. I used just the first few lines of the poem and transferred them along with images of night-time trees and lights onto a monoprinted background. I then added further layers of mixed media to create a sense of loss, absence and the passage of time.

When Time Counts By Dawn Tomlin

This is a photograph of my kitchen clock which, if you look, contains stains from food thrown at me in a DV outburst. I have added the words â&#x20AC;&#x2DC;Time Heals Woundsâ&#x20AC;&#x2122; by cross-app process from photoshop to iPad apps. The phrase is one of the many things you hear from people who do not know what to say when they are trying to support you through PTSD caused by DV. If it was only that simple. Therefore the photograph represents how the trauma is present every single second of the day, invisible to the outside world.

Get Social... There are many groups and forums to be found involving the OCA (if it involves canoes, you are probably in the wrong place). A great starting place is the Student discussion forums available on the student website, you must be logged in. Here you will find plenty of different categories to browse through and a lot of support, whatever your query or news you have to share.

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We at edge-zine are not involved in the administration or day to day running of (most of) these groups or pages and bear no responsibility for their content. This list is for information purposes only. www.edge-zine.com

Deep Time Hybrid

By Sue Pa

(Lichen meets)

arr

Beech Hill: A landscape in transition. By Amano Tracy

â&#x20AC;?This series of images were made using a camera set up for time lapse. With help from a friend, I mounted a camera in a box on top of a pole and installed it on property with a view over the hillside and road in the foreground. A cable release was set to make photographs at regular intervals. After a year and a half during which the camera has been regularly checked with batteries being changed and images downloaded, a sequence of photographs has resulted that tell a story of what is going on here. â&#x20AC;&#x153;

1. Misty spring morning 2.Sheep in the field 3.Grassy meadow

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4.Digging begins 5.The final harvest

amano487138@oca.ac.uk Amano Tracy Photography Level 3 Bio: long term OCA student who works in photography https://wordpress.com/view/jurston.wordpress.com Submission: www.amanosamarpan.com

6.Construction work continues 7.Earthworks in the field

8.Digger in the field 9.Digging work underway 10.Dusk over Beech Hill

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One Minute in One Year A collaboration by Anna Goodchild and Deborah Johnson

The theme of ‘doing time’ in prison while the rhythms of the natural world continue to unfold in the world ‘outside’ lent itself very readily to a musical response. I chose pitched and unpitched percussion to suggest the passing of time and to correspond to Anna’s visual imagery of leaves, creaking branches, chiming bells, horses’ hooves in the background, and in the section presented here, the splashes and circling ripples that were filmed by Anna as she dropped pennies into a pond. The ticking metronome video in the background accentuates the pas-

sage of time and the effect of the ripples. The film presented here takes exactly one minute. It is a small expanded portion of the original film and soundtrack. For the soundtrack I have used the metronome beat of â&#x20AC;&#x2DC;one crotchet beat equals sixtyâ&#x20AC;&#x2122; - that is sixty beats to the minute. So each underlying beat corresponds to one second of time passing. Over this underlying beat the fluctuating rhythms of the music and of the natural sounds are superimposed. Chronological time and random events in natural cyclical time are thus superimposed and weave different patterns together, giving rise to a variety of emotional responses.

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Beneath the truth. By Steve R. Young

The work explores the area of abuse or misuse of power within a spiritual community context. This is partly an attempt to resolve personal issues that have been lingering for many years but also I wanted to speak more universally about hidden factors, things not seen or explained or discussed and the potential problems that this can bring. Shooting the images took time. For me it was a slow project of several months of shooting and researching. One of the biggest barriers was knowing that in time this might be seen in a public setting and may not gain full approval from viewers within that community. The question of honesty, even though the images are staged and fictional, talk about a painful topic.

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Time Travels with my Father. By Jonathan Lamb

his project grew out of time spent with my Dad since he has been diagnosed with hydrocephalus and vascular dementia. I’ve combined both documentary and conceptual approaches to attempt a visual explanation of his situation. There are a number of techniques peculiar to photography that make it an ideal medium for this idea, such as the ability of long exposures to spread time across an image and the way multiple exposures can hold more than one reality within a single frame. These photographs are not stolen moments but constructed hyperrealities composed in collaboration with my Father, working in black and white to re-represent the apparent order of things. This is particularly noticeable in Pathways, where the two paths (which represent two possible realities) maintain an uncanny co-existence that is somehow muddied by the addition of colour. At the same time black and white also allows me to keep one leg of my tripod planted in the documentary - and by implication factual - tradition.

look that strange at first. The brain rapidly tries to make sense of the information it receives – humans are very good at pattern matching. The double exposure looked like a reflection in a glass building, a common sight in the busy streets of today. A neural network iterates to find a match for the visual data it is fed. If some of that data is corrupted, it will move to the nearest equivalent – instead of the hospital perhaps another institutional environment such as the office. My mother visits him every day, but occasionally now he may confuse her with his own mother. As the access to his memory becomes more random, my Father moves more freely between different realities, filling in the gaps to populate the present with details from his past. This is a photographic record of his journey.

My initial image was taken a couple of years ago, in the High Street in Twickenham, where my Dad has lived his whole life. He could still get about then, albeit with a walking frame. Things were slowing down for him – time was starting to pass him by. Since then he has spent several months in various hospitals, including the Chelsea & Westminster. My Father is an intelligent man with whom it is still possible to have a detailed discussion about, for example, the merits of various engines or racing drivers from times gone by. But he can, very unpredictably, become confused as to the recent past or his immediate surroundings – for example in hospital he would sometimes think he was at his old office, 95 Wigmore Street. This of course is disconcerting for both of us. It seems bizarre, but when I took a photo of the hospital and superimposed it onto one of his office, it did not

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https://www.jonathanlambphotography.com/time-travelswith-my-father

“Call for Submission

“Somewhere inside all of us is the power to change the world. -Roald Dahl

”

CA Students and Tut disciplines) are invite which will be out in Mar

Don’t forget that media us tal zine, and throughout o word reflective account of visual or verbal outcome where your work can be v

Use the submission form files with max 100 Mb (pl

Incomplete submissions

We get a lot of wonderful iting so please don’t be di next edition.

Your contributions are wh themed piece lying around Midnight, January 31st

We look forward to seeing or hearing your submissio 2020 edition.

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ns...”

tors of all disciplines (fine art, textiles, design, photography, music, moving images, writing and all creative ed to engage and submit contributions, ideas, sketches, works in progress etc… for our theme, ‘Inside’ rch next year.

sing sound and moving image can also be submitted (.mp3 & .mp4 preferable) to be embedded in the digiour website and social media platforms. We would ask you for a max 100 word bio and a min 200/max 2000 f your creative process, or written accompaniment for our printed edge-zine. We are interested in your as much as we are interested in the process of making and your practice, and will include a written link to viewed / or heard.

m, of which the link is also available via our website or on Facebook, which allows you to submit up to 10 lease note that not all images submitted may be used).

s will not be accepted.

l submissions and, although we try to include as many of them as possible, 80 pages are surprisingly limisheartened if your submission hasn’t made it in this time. Where possible you will be given priority in the

hat make edge-zine. What would a student magazine be without them? So, whether you have an ‘Inside’ d or you have an idea you want to share, the submission deadline is: 2020

g, watching and/ ons for our Spring

susan askew BA Drawing Level two

The central theme in my drawing is disconnections – from nature, from other beings, from each other and from the self. This work submitted here is one of a series of drawings inspired by the phone box on the green in Settle, north Yorkshire, where I grew up and now spend a lot of time. The series examines how our current obsession with mobile technology takes up much of our time. This can isolate us from those around us, and give us the illusion of connection while keeping us isolated from one another, and cut off from the self.

www.susanaskewart.com

Hugh Hadfield Illustration 2 I’ve returned to study illustration after a long break; I graduated from Cardiff College of Art in 1984 with a BA(Hons) degree in Fine Art and supplemented that a couple of years later with a Diploma in Graphic Design for Television. I made a living as a freelance Paintbox Operator followed by a job in the BBC Graphic Design Department as a project manager. Since 2004 I’ve been managing digital projects. I’m studying illustration to build my skills and confidence to the point where I have a strong enough portfolio to work as an illustrator. https://hughhadfield.wordpress.com/ 72

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Samantha Sharpe Painting degree, level 4. I am a student of painting and hope to be one a full time artist some time in the future. I live in the midlands and am mother to three children. I particularly love painting with oils and gouache. www.Samanthasharpeartist.wordpress.com

Cal Hoy Visual communications about to start level 3 I’m a mature student with an interest in how illustration can convey information and tell stories. I went to the Royal Observatory to draw Harrisons clocks and stumbled on the story of the lady who sold time.

https://www.instagram.com/calhoy

Amano Tracy Photography Level 3 long term OCA student who works in photography

https://wordpress.com/view/jurston.wordpress.com

Sue Parr Painting 2: Studio Practice Studying painting with the OCA has allowed an opportunity to explore a range of interests. Currently the work is focused on the edges between: i.e. Man/nature; painting/video; materiality/immateriality etc. but seemingly with an underlying focus on performativity and transience.

www.instagram.com/sueparr000/

Stefan J Schaffeld Painting 2 - Studio Practice - Level 2 I am passionate about art, and art for me is mostly about materiality, physically or metaphorically. My practice is about material transformation and crossing boundaries of and seeking new perspectives beyond conventional forms and meaning. My work is informed by my practice as art therapist. Currently, I am following a BA (hons) in Fine Arts with OCA, the distant learning unit of the University for the Creative Arts in UK. I live in Northern Germany close to the Dutch border and do spend part time in Switzerland.

www.instagram.com/stefanschaffeldart www.facebook.com/stefan.schaffeld.artist https://www.stefanschaffeld.com

Arlene Sharp Studio Practice level 2 I am a level 2 Painting student currently studying Studio Practice. www.edge-zine.com

Helen R Jones

Nuala Mahon

BA (Hons) Painting, level 4

I am a photography student, on my second module, Digital Image and Culture, at level 2, with OCA. I have three great loves in life, my family, my photography and my garden. I have lived in a number of places in Europe and Africa. I am retired (well sort of!!) and live half the year on an island in the SW of Ireland and the other half in the Provencal mountains.

I came to painting via evening classes but then when I retired found I needed a more structured approach to improving myself. Not only did I want to be challenged and progress my painting but also to understand contemporary art and the broad range of works it encompasses. Researching within the field of art has been a different experience to the one I was familiar with but it is gradually opening my eyes and my practice, leading me down interesting and fruitful pathways, for to uncover your artistic voice I

www.instagram.com/nualamahon/ www.diandc.home.blog

Anna Goodchild and Deborah Johnson

now realise is to learn about oneself.

Michael Green Photography Level 2

Photography L3 and Music I am reaching the end of my studies with the OCA and have really enjoyed my collaboration with music student Deborah on 2 pieces.

www.annagoodchild.com

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I am proud to be part of the team producing edge zine I love all aspects of photography.

http://michaelgreenlevel2landscapeblog.photo. blog

Lynda Kuit Documentary Fact & Fiction - Level 2

Sue Gedda Painting 3 Originally from England I have been living in Australia for 28 years on a beef farm & have experienced first hand the increasingly harsh impacts of climate change. With a close connection to and respect for our rural environment I find myself deeply conflicted at the convergence of beef production and environmental ethics and this manifests in my climate conscience.

Gesa Helms Gesa Helms is a researcher, educator and artist and a Human Geographer by training (Universities of Goettingen, Germany (Dipl-Geog) and Glasgow, UK (PhD)). Her current research as practice combines (auto-)ethnographic approaches with facilitation in group and one-toone settings, and is interested in the production of public and private spaces. She holds an honorary affiliation at the University of Glasgow and is a final year student in Creative Arts (BSc) (drawing/photography) at UCA/OCA. https://close-open.net/ https://the-----------------------line.tumblr.com/

Originally from South Africa, I now live in Canada in a tiny hamlet next to the Shuswap Lake in British Columbia. I am a photography student on my final level 2 course: Documentary Fact & Fiction. I enjoy exploring aspects of immigration, culture shock, identity and the stories that the landscape reveals to us. www.lyndakuitphotographydocumentary.wordpress.com/ www.flickr.com/photos/lyndakuit/ www.instagram.com/lynda.kuit

Sibylle Herzer Exploring Drawing Media, Level 1 I am on my second unit of the Drawing pathway with OCA. I see my studies as an opportunity for exploration into media and materials. I am especially partial to what I can find: unplanned invitations to experiment and to see where the material will take me. My day job as a gardener and what I do in the studio have strong similarities. There is a love of material, of hands-on work and involving the body. There is a fascination for work in progress where the process is still visible. Iâ&#x20AC;&#x2122;m intrigued by shapes, colours and textures.

https://instagram.com/svarta_molly/ www.edge-zine.com

Dawn Tomlin Alice Powell Exploring Drawing Media, Level 1 I was bought up in Dorset but now live in London. I am lucky enough to rent a studio near where I live in London which is a perfect place to immerse myself in my work. I started my degree at Falmouth University back in 2012 but due to various circumstances I had to withdraw. I have started a fresh with the OCA and I am loving it! I enjoy living in London - the modern vs the old, the green vs the concrete but I also adore by frequent visits back to Dorset for my rural fix.

Foundations in Photography I am a mature student who has returned to the OCA after quite a number of years break. I am trying to repiece my life together after being a ‘victim’ of domestic violence so that I become a ‘survivor,’ and studying with the OCA is how I am going to restart my new life. Art and photography, working towards an exhibition highlighting domestic abuse behind closed doors, and the OCA are my life savers at the moment. One foot forward is all it takes and I have done it!

Geraldine Leahy I am an OCA student, about to progress to Level Three on the Painting Degree Pathway. I have an interest in the notion of traces and imprints in the landscape. These could consist of ancient fossilised marks, the skeleton shape of a dead leaf or, on a larger scale, natural lines visible in the landscape.I have gradually developed this interest to include notions of absence and erasure in personal or family history. I use a variety of processes in my practice, such as monoprinting, transfer techniques and erasure. I am influenced by the natural world and by literary works, especially poetry. Many artists have influenced my work, including Antoni Tapies and Cy Twombly. 76

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Steve R. Young I’ve been studying Photography with the OCA for four years and before that I studied in Spain. I lean more towards semi-fiction and documentary practice as has become clearer over the course that this is my developing interest. I general I pursue projects that have a challenge to them, are related to actual life situations but can be left open for new interpretation and viewer input. I am a keen meditator, traveller and am based in Valencia, Spain, some of the year. https://narrativeandcontextlevel1.wordpress. com/2017/10/23/assignment-2-photographing-the-unseen/

Kim Appleton Understanding Painting Media Level 4

Neil Cramond

After leaving my career as a cancer scientist and project manager I am following my passion and planning to complete a degree in Fine Art with the OCA. I am currently enrolled in Understanding Painting Media level 1 and loving it. I like to paint in fairly abstract style exploring textures and mark making. I am endlessly fascinated by nature and the landscape surrounding me.

43 year old HGV driver finally following my creative passions by developing my artistic skills after being put off art by Higher teacher. Love representation and I see drawing as the fundamental skill across all artistic styles as the key to being able to better express your ideas. I love nature due to its ever changing palette of colours and animals with their textures and colours of fur and feathers.

https://twitter.com/Getthepicture4 https://www.instagram.com/getthepicture99/

Drawing 2

Facebook page Art by Neil

Jonathan Lamb

Melanie Brown BA Creative Arts Iâ&#x20AC;&#x2122;m a Creative Arts student who juggles studying with creating work for my greetings card company and working as a teenage wrangler at a local high school. I have always loved drawing and have finally got my act together to do something about it! #catflapcards https://notscaryspice.wordpress.com, https://www.thortful.com/creator/catflapcardsns.

Photography Level 2 I am 50 years old and live on the Ashdown Forest in East Sussex with my wife and two children. I donâ&#x20AC;&#x2122;t have a background in the arts although I have been a keen amateur photographer for a while. My interest really developed when I lived in Kenya for a couple of years working as a maths teacher. Since then I have had a career in finance running a quantitative hedge fund although I am now retired and enjoy spending time with my family. In addition to photography my hobbies include wing chun kung fu and jazz and blues music. https://www.jonathanlambphotography.com https://www.instagram.com/jonathan515050/ www.edge-zine.com

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My motivation:

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I want to see how the development of edge-zine can be meaningful for my own art practice. I do see it as a learning platform for myself and together with others. I don’t know how much effort I need to put in or how much reward I can get out of it, but I do feel that we all together can inspire each other. I am also wondering how much of the collaborative approach can feed into an artist’s portfolio.

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My ambition: To develop edge-zine as a student-led collaborative platform for public exposure, recognition and cross-fertilization across various communication channels including future exhibitions.

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Team...

el Green

Catherine Banks

Amy-Sarah Opitz

ivation:

My motivation:

I gain a lot from the energy field that develops when Iâ&#x20AC;&#x2122;m collaborating on a project with others. Itâ&#x20AC;&#x2122;s such a positive way to both learn and share skills whilst being involved in the creation of something I hope will support and encourage fellow artists to share their work in a more public field.

I like developing an idea to end productâ&#x20AC;Ś.also, I make a terrible housewife and this keeps me occupied.

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magazine to develop so it bevital part of the OCA comion with the students and the college. I would like it lace where all can showcase rk whilst helping us learn y achieved the result.

My ambition: For edge-zine to be recognised as a collaborative, multimedia publication that other artists seek to be included in. To gain funding for it to appear in print as well as online.

My ambition: Ambition is a tricky one as, having Bipolar myself and living with more than one non-neurotypical person in our household, I never know what the morning will bring. But, For edge-zine, hmmmmm, I would like edge-zine to evolve beyond the pages.