edge-zine 7 Water by Edge-zine

Is su e

no .7 on. i - Sum t i d me r e

Water

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Front Cover Art: Sink II Provided by Jess Lauren Scott oil on canvas, 25 x 35cm

CONTENTS

Back Cover Art: Bottled Water Provided by Jennifer Wallace Pen and Ink drawing

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.

Editors Notes

The Shape of Water - Holly Yates

Tutor Thoughts, Provided by Dr. James Pyman

Water - Stefan J Schaffeld

Silent Pool - Catherine Banks

Shoeburyness East Beach, Thames Estuary - Karen Woodfield

Get OCA Social...

TRANSITION â&#x20AC;&#x201C; absence and return - Karen Woodfield

Fields of Fire - Simon Chirgwin.

Dreams of Alternative Worlds - By Holly Woodward

Who will cry for these dead people? - Anna Goodchild

Untitled series. - Renate Maas

Money swims too. - Anon.

Shuswap Floods - Lynda Kuit

I Bought Fish Fingers - Michael Green

Turbulence & Waterfall Tree - Armano Tracy

Water - Sue Parr

Water everywhere - Nuala Mahon

Bodies of Water - Dawn Langley

Sink II (Front Cover) - By Jess Lauren Scott

Mirror Cube - Jane Coxhill

Submissions Call

Contributors and Team

Preview: Water our most vital element - Michael Green

Bottled Water (Back cover) - Jennifer Wallace www.edge-zine.com

Editor’s note: Water - water is fluent, a liquid, with connotations to different meanings and interpretations. Like its meaning, the works featured in this issue are ways of how each of the contributor responded to it. And as fluent and reflective as water, this issue of edge-zine reflects approaches of creative disciplines emerging from this collective of students. We wanted to revamp the student led edge-zine that started some years back, and to develop further a quirky and yet fluent zine. The theme is an invitation of our diverse ways of learning and collaborating together as distant creative students. A cross-disciplinary and international collaboration of artists studying with the Open College of the Arts (OCA), the distance learning college of the University for the Creative Arts (UCA), crossing boundaries of distant places, and contributing to a diversity of art practices and personal meaning. Water as metaphor. We are honored to have James Pyman, the OCA program leader for Illustration, Graphic Design and Visual Communication, supporting and encouraging us to create ‘visually suggestive imagery’ by using different approaches. Have a read on his view inside this issue. As on online zine, we are trying to overcome limitations of traditional printed zines. Nevertheless, it is a self-made curative approach in a world overflowing with visual stimuli and imagery. We invite you as our reader to engage with the different responses and to add your own perspective to the theme. The featured works might trigger new narratives that are meaningful for the reader. And in that way, a dialogue between the contributors and you as the audience may occur. We set out to consider edge-zine as an evolving and fluently developing publication and platform for creative approaches, the form and the content will continue to be fluid, as water. We as the editing team, a diverse bunch of students from different disciplines and competences, are committed to make edge-zine a sustainable and open platform with impact and visibility. I do hope you enjoy reading and exploring this issue as much as we the editing team enjoyed putting it all together. Your comments and suggestions are very welcome, as well as your contributions for one of our next editions – stay tuned. 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: Catherine Banks, Simon Chirgwin, Jane Coxhill, Anna Goodchild, Michael Green, Lynda Kuit, Dawn Langley, Renate Maas, Nuala Mahon, Amy-Sarah Opitz, James Pyman, Stefan J Schaffeld, Jess Lauren Scott, Amano Tracy, Jennifer Wallace, Karen P. Woodfield, Holly Woodward, Holly Yates 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

Nuala Mahon p.59

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THE SHAPE OF WATER B y H o l l y Ya t e s .

Iâ&#x20AC;&#x2122;ve never been particularly interested in producing work in volume, having found that winning combination of originality and an instantly recognisable brand, which is why it was with some caution that I accepted an invitation to produce a collection of work for a curated gallery exhibition.

Initial frustration at feeling that I was revisiting old ground has forced me to slow down, exploring small changes and really pushing an idea with (I think) exciting results. The pieces that have inspired this collection were borne out of an exchange with another gallery, who refused on principle to consider showing textiles, through a misguided narrow view of what textile art could be. I reflected that at least half of what was on show was produced on a canvas base, so why not stitch and manipulate the canvas prior to stretching, priming and painting? The initial pieces were ambiguous in their workings, inspiring many to ask how they were produced and what the medium was. I explored losing the frame, stretching over individual boards and setting within a larger work. I even cast some embroideries in porcelain slip and fired them, producing glazed skeletons of my wool-stuffed stitches on tiles. 6

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A visit to Hauser and Wirth in Somerset and an exhibition of work by the Japanese artist Takesada Matsutani (1937-) was a threshold moment. His huge, wall-sized unframed canvases suspended simply by tags, painted monochrome acrylic and then covered thickly with pencil graphite. An everyday medium subverted by scale, its metallic sheen lending an unrestrained other-worldliness. His other main line of enquiry was using PVA on a range of materials and inflating it as it dried, allowing it to find its own form. I decided that I needed to work bigger and show raw edges, and in doing so I could allow the folds and stuffed portions of the piece to manipulate the overall shape. My inspiration has been modelling the shape of water as it hits the shore, and freeing myself from the rectangle has helped to accentuate this feeling of movement.

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Painting the canvases has been an enlightening process too. I saturate the already gessoed surface, and drop or spray dilute acrylic inks onto it. A careful dance of wetting, drying and layering inks allows the pigment to find the stitch lines and buckles in the surface. I am more a director in this piece, influencing the shape of the final painting, editing and preserving parts in turn, rather than deliberate application of colour. The whole process has become very performative, perhaps yet another avenue of inspiration. Further Reading: Matsutani, T. (2013) A Matrix London: Hauser & Wirth

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Tutor Thoughts... Provided by Dr. James Pyman

When I was asked by a group of OCA students to offer some thoughts on a possible redesign of ‘edge-zine’, I’d like to say I contributed lots of suggestions, recommendations, ideas, and ground-breaking creative strategies. I didn’t. Essentially I felt it could be a bit longer and maybe more varied-looking, moving beyond a strict page count and thinking about fonts other than Courier, which felt a little too ‘punk’-ish. Vary the look and try not to default to established tropes. Maybe more ‘edge’ and less ‘zine’. The new editorial team’s first issue’s theme is ‘Water’, and it’s great to see my fairly basic observations acknowledged, as there are more pages and only a little Courier in the new issue. Beyond that, though, the editors and designer have re-thought, developed, revised, expanded, and generally greatly improved upon the old format, and the content is more visual, more varied, more experimental, and the use of text and image much better integrated. The artwork examines water in as many ways as you could imagine - water as an element, both a liquid and creative material, as a visual or lyrical subject, performative collaborator, purifier and poisoner. Water as transparent, clear, opaque, wave, reflector, fluid glass, a mirror. Water as a drop, a lake, waterfall, flood, a sea or ocean, as a passage, a journey, a border, even a barrier. Often in educational contexts like pop-up exhibitions, catalogues or end-of-year shows, students’ written reflection on their own work can inevitably feel too brief, or inevitably rushed. But ‘edge-zine’ has little to no such spatial or temporal limitations. If a practitioner wants to spend ten pages writing about one image they can, or alternatively they just have a one-word title and ten pages of standalone images. This agency and flexibility means personal projects or creative possibilities can be investigated in a way that sometimes the course unit may not allow or encourage. Students can step outside the ‘brief’ and test, or play, and challenge themselves further. Congratulations to Catherine, Michael, Stefan, Amy-Sarah and all of the contributors to the new improved, expanded ‘edge-zine’. The editors have opened up their request for submissions to all OCA students; at present the majority of the work is still photography-based, with some writing, painting and drawing emerging. But in future issues hopefully students across all other disciplines will also want to take part. Students could also collaborate across disciplines; for example, a creative writing student could post a text for illustration, or musical accompaniment. It’s your space. The next theme is ‘Time’, so please consider creating some to contribute. Best wishes, Dr James Pyman Programme Leader BA (Hons) Visual Communication, Graphic Design and Illustration Open College of the Arts

a gest i

perfo

perfo a

Water

ture, a medium in itself

Water

orming through nature

Water

orming inside a machine

ainting as gesture

Water

Stefan J Schaffeld ÂŠ 2018

An artist often wants to have control on mark making or applied brushstrokes. What if this control is giving â&#x20AC;&#x2DC;backâ&#x20AC;&#x2122; to nature? And how can nature perform a painting? This work is one approach in listening to water in the form of humidity in the air, mist, or rain. An interaction between me and nature, water as the mediator in the process of painting. Water also as the main actor in a washing machine. Not resolved, leaving space for the viewer to engage and to wonder how much control and water is required.

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S i l e n t po o l B y C at h e r i n e B a n k s

Sun-warmed air rising, cooling, clouding Liquid drops fall fast to seek the slopes beneath Through cracks and crannies joining water flows And finds release in chalky bowl below A series of seven photographs evoking the atmosphere of a spring-fed pool in Surrey

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Get Social... Did you know that there are many ways to connect with other OCA students? Sometimes even students in your region?

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. We all love to see or hear about what our colleagues are up to, so why not use one of the hash-tags to share what youâ&#x20AC;&#x2122;re working on. There are a lot of hash-tags for use mainly in Twitter and Instagram so we have listed a few of the main tags. If you know a group, page, hash-tag or forum that you think should be included get in contact and let us know so that we can update our lists for our next issue, out in October.

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Shoeburyness East Beach, I step out from the sandy pebbles firm beneath my feet out onto the vast expanse of grey flat mud. The tide had turned hours before, leaving the shore line and departing for the North Sea. Somewhere out there beyond the mud flats the river still flows and shipping passes through. I am always tempted to walk out to the middle of the estuary to find the deep water channels a mile or so from the beach. Stories of not being able to out run the returning tide always drummed into my head. There is stillness as the army are not shooting today from the firing range where my Grandfather worked after the Second World War. This beach is where my teenage Dad was saved from drowning dragged from a whirlpool off the jetty and where years later we would spread his ashes into the dark water. After a few meters the beach is left far behind, within a few minutes of walking the landscape changes. The heavy leaden sky merges into the shimmering pewter grey mud flat. The sounds of the land give way to the quiet emptiness of the mud flats. Under my feet lay the cockles we would collect as children on Sunday mornings. We would return with large buckets of the tightly closed shells ready to cook. Further out into the estuary still lay not too deep in the mud, unexploded bombs dropped by German bomber planes

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Thames Estuary By Karen Woodfield

returning from raids on London. They are still regularly pulled from the mud, found by the bait diggers or exposed by the moving tides. Life times of family history, transitions through the generations. The tide has turned, time to return to shore, returning from another world. The estuary is a place of transition, meeting & movement. The river is never absence just out of sight of theshore, the tidal water surges back flooding the estuary every day. Living in a time of constant change, elements around us in flux, the rise and fall. How do we adapt to changes? These are the challenges of living in transition, constantly adapting to different environments. Our journey leads to an absence but also a return, encounters on the way, living on the boundaries where mergers bring quietness.

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TRANSITION â&#x20AC;&#x201C; absence and return Created for Textiles 2 Contemporary Context By Karen Woodfield

This work started with the creation of a theme book to explore image, colour palettes, materials and theme words. From this point a visual responses is created which inspired the creation of textile samples from which we can choose from applying to a fashion, interiors or art textile setting. Finally the samples are photographed or drawn in a contextual setting. The Transition theme relates to my childhood living near the end of Thames Estuary in Essex and leads to a very personal response.

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is this your art ? this your art ? your art ? Could be here

Find out more about submitting your work on page 70 , by visiting our Facebook page or website

Fields of Fire by Simon Chirgwin.

To ten year-old Simon, growing up in Orkney, a long time ago and surrounded by history, even the recent past seemed strange and mysterious as the time when unknowable people had lived there, before the building of the pyramids. The ancients had left plentiful evidence of habitation scattered across the islands, but no explanation of what any of it was for. His mother, on the other hand, remembered the nineteen forties well and always referred to the concrete structures left behind by the armed forces as â&#x20AC;&#x2DC;wartime installations.â&#x20AC;&#x2122; She told him why they were there and what they were for...

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Between 1938 and 1941 twenty-four coastal defence batteries were constructed around Orkney with the intention of defending the Royal Navy from opportunistic attacks by the Kriegsmarine. The siting of these batteries was determined by their ability to create overlapping fields of fire in the stretches of water between the islands that circle the fleet anchorage of Scapa Flow. The Germans never came and the batteries never fired a shot in anger. Seventy five years after the end of the war, like many of the concrete emplacements, the open view of the sea remains...

Photos from top: Page 32/33: Fields of Fire 1 - gate battery, flotta 1 (digital image, 2017) Fields of Fire 2 - gate battery, flotta 2 (digital image, 2017) Fields of Fire 3 - graemsay battery 1 (digital image, 2018) Fields of Fire 4 - graemsay battery 2 (digital image, 2018) Page 34/35: Fields of Fire 5 - holm battery 1 (digital image, 2017) Fields of Fire 6 - holm battery 2 (digital image, 2017) Fields of Fire 7 - balfour battery, s. ronaldsay 1 (digital image, 2018) Fields of Fire 8 - balfour battery, s. ronaldsay 2 (digital image, 2018)

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Dreams of Alternat

Image 1

One of the unexpectedly enjoyable side effects of doing a photography degree is the opportunity for experimental play. I am fascinated by the idea of re-versioning, and how an image changes and degrades as it is rephotographed and printed in a variety of different digital and analogue ways to a point where it no longer resembles the original at all.

This particular series is based on two accidents which occurred during printing processes, both as a result of the properties of water, and all originate from the first image (1). Firstly, I mistakenly printed the image onto the back of a sheet of digital transfer film and so the inks could not take. They had nothing to stick to, and so over the course of the following weeks, the inks ran out over the film to make the second image (2). 34

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By Holly Woodward

Image 2

tive Worlds

Image 3

Image 4

There is a fascination in ex which I rephotographed to digital film too close to a w it. Over time, the chemical these with a macro lens an printed onto digital film an original. Two elements of to change slowly over tim work. Images 4 and 5 coul

The same shapes and patte of physics apply differentl

Image 5

xamining the edges of the image to see the tiny fractal patterns and in particular I liked one section o make a new image (3). The next one was a darkroom mistake, when I accidentally held the same wet black and white print which I had made from it. It stuck to the print and sadly I could not remove ls in the print have begun to crystallise and to make beautiful fractal patterns (4). I am photographing nd testing them on different print media and No 5 is a version of a tiny part of the crystallised image, nd then backed with gold leaf. The last is one where I have begun to bring back in elements of the these images are of particular interest to me. Firstly, the originals are not stable and will continue me as the chemical alterations continue. And secondly, one has no idea of the scale or subject of the ld be from Google Earth, but they are in fact photographs of tiny sections of an A5 image.

erns created by water are repeated at both scales and they hint at alternative worlds where the laws ly.

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What do you think should g This issue (no. 7) was the first issue created by us, the new editorial team, and it was agreed early on that we wanted edge-zine to open out and be more accessible, providing what the tutors and students of the OCA really want and need from a student magazine. To make sure that this ideal becomes a reality we are asking you for your suggestions, feedback and submissions. Some of the suggestions that we have received so far range from a Student Spot light and Artist studies to events calendars. What do you think? Tell us what you would like to see in the edge-zine magazine or website by participating in the online vote on our Facebook page or using the contact form available on our website.

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go here?

Your edge-zine, your say!

Who will cry for t

Who will cr

On a recent visit to Sicily, I was astonished at the tangible aw

By Anna G

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these dead people?

ry for them?

wareness of the migration effects on the island and its people.

Goodchild

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Untitled series. By Renate Maas

A selection of colourful A6 Mixed media paintings (pages 44-46). A5 Mark making paintings/ drawings created with moor water (page 46).

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Money swims too Anon. student A6, Ink drawing with gold leaf www.edge-zine.com

Shuswap Floods By Lynda Kuit

In the interior of British Columbia, Canada, Mother Nature rules with all her volatility. Some winters are extreme, resulting in large snow accumulations. Once the thaw sets in, this snow melts and makes its way into the lakes, often times causing extreme hardships in the form of floods destroying homes and businesses and disrupting entire communities.

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I bought Fish Fingers by Michael Green.

I found myself struggling to decide what to have for my evening meal the other night whilst in the supermarket. Finally I decided on a box of Cod Fish Fingers. I took them home and cooked them and then tucked in hardly giving the people who caught my meal a second thought. How do these little bread crumbed slices of fish arrive on my plate I decided to find out more about it. They seem so benign sat in their bright coloured box. This is how I found myself on the deck of a boat early in the morning in Northern Norway watching a ship, trawling for Cod. The boats leave port at 3am and head out into the frigid sea with temperatures well below freezing at minus 5 centigrade. The fishermen soon have their cold hands full of nets and set them in the sea to harvest the

bounty on offer. The birds around the ships were a marvel as they picked fish from the nets in the sea and harvested the injured fish on offer. They swirl around from early morning till the boats return home at the end of the day. Often the birds obscure the boat from view and brought to mind Hitchcock’s movie “The Birds”. The crew work hard in the dim Arctic light with cold hands, pulling nets from the sea and placing fish in the holds. The coast guard make regular checks to ensure Norway’s stringent rules are being followed keeping the stocks of fish sustainable. The work goes on all day until the boats return to harbour so these exhausted cold people can get some rest before going out to do it all again. The next time you buy, cook or eat some Fish give a thought to the people who brave some of the harshest conditions in the world to put the fish on your plate.

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Turbulence & Waterfall tree Photographs By Armano Tracy

The power and majesty of water can often be seen in a waterfall yet this work does not assume obvious tropes.

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Water - By Sue Parr

Nuala Mahon

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Nuala Mahon

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â&#x20AC;&#x153;Water Everywhere: I live on an island so I am surrounded by water. I am completely fascinated by itâ&#x20AC;?. - Nuala Mahon

Bodies of Water By Dawn Langley

At first glance ripples are contained within three separate rectangles, but there are points where tributaries flow between them and ripples merge. The containers are semi-permeable, and the water has found a way to travel between them. These three separate photographs are drawn together as a triptych. We are bodies of water, (up to 60%; with some organs like the lungs being over 80%) but the Enlightenment and Cartesian science has encouraged us to think of ourselves as independent corporeal beings. Yet, we are all part of a great inter-subjective, aqueous ecology. “To say that my body is marshland, estuary, ecosystem, that is riven through with tributaries of companion species, nestling in my gut, extending through my fingers, pooling at my feet, is a beautiful way to reimagine my corporeality.” (Neimanis, 2012: 107) These reflections are intended to give some background to the process of developing ‘Bodies of Water.’ They look at why I have chosen to use an abstracted approach to illuminate some complex concepts I have been researching to try and understand my personal fascination with water. Over the last two years you would have been likely to find me loitering at the water’s edge, this might be the local lake or canals, the sea, or pools and puddles. As part of Digital Image and Culture I explored my family archive (mainly family albums) and discovered that water was often present in many of those images too, ranging from a yellow spotted paddling pool, to being fortunate enough to visit the Great Barrier Reef. Ironically, I am a terrible sailor, it is more about being with than being on the water. It seems to be an inescapable part of who I am. Judging by the number of people I see along the waterside I am not the only one, as has been noted ‘there’s something about water that draws and fascinates us.’ (Nichols, 2014) In January I participated in the Open Art Collective exhibition at the Lightbox (Woking) and water featured heavily in my submission as a metaphor for transformation and impermanence. I have since been exploring what it is that keeps drawing me back to the water and why it has become such a core part of my practice. Some of this has to do 64

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with the benefits it brings in terms of the positive effect it has on me, I find it calming, a good thinking space, a connection with something beyond everyday stresses and troubles. I also find it rich with symbolic meaning. It is ever changing, we can’t always know what is beneath the surface and although we can contain it, it is never completely under control, always in danger of finding its own path through given the slightest opportunity. ‘Bodies of Water’ is very much a work in progress and has emerged from my wider research around water. It is informed by two concepts I have been exploring – Hypersea (MacMenamin & MacMenamin, 1994) and Hydrofeminism (Neimanis, 2012). It also seems current given the widespread concern about the damage humankind has done to our environment, and particularly our oceans. Hypersea refers to the flow of body fluids from Eukaryotes (organisms whose cells have a nucleus enclosed within membranes) that have had a significant evolutionary and geochemical impact. Dawn Langley, Student Number 510320 It is suggested that these flows account for the success of life on land, in terms of its breadth and depth, compared to marine life. In emerging from the oceans the Eukaryote did not abandon its watery origins, it folded them ‘back inside itself.’ (MacMenamin & MacMenamin, 1994: 5) Hydrofeminism is based on exploring notions of embodiment as watery, moving away from the dominant phallogocentric Western tradition that privileges masculine norms. As a concept Hydrofeminism seems to me to go further than a simple male/female binary and is an attempt to break

down the sovereignty of the individual, highlighting the need to consider intersubjectivity differently. “As watery, we experience ourselves less as isolated entities, and more as oceanic eddies…the space between our selves and our others is at once as distant as the primeval sea, yet also closer than our own skin – the traces of those same oceanic beginnings still cycling through us, pausing as this bodily thing we call ‘mine’.” (Neimanis, 2012) In my thirties, I had a swelling in my neck just under the jaw on the left hand side, I was told it was a ‘Branchial Cyst,’ described as a ‘congenital remnant from embryologic development,’ in other words it is a contemporary reminder of our aquatic past, it is our evolutionary equivalent of gills. In remembering this experience, I was intrigued by this notion of our connection to the primeval sea and what it means to think in terms of our bodies of water, ‘bodies need water, but water also needs a body.’ (Neimanis, 2012: 103) This is part of what I am trying to capture in ‘Bodies of Water,’ the notion that we are separate but connected and that our semi-permeability allows

for the ebbs and flows that make us both different and similar, ‘we live in a watery commons.’ (Neimanis, 2012: 105) “…the human infant drinks the mother, the mother ingests the reservoir, the reservoir is replenished by the storm, the storm absorbs the ocean, the ocean sustains the fish, the fish are consumed by the whale.” (Neimanis, 2012: 105) So, is it possible as I am looking out over water that I am also looking at a distributed ‘me’? I am not other in this place; I am in the eddies and undulations. I am part of, different from but also the same, and the connections run much deeper than I might have ever imagined.

References and citations: MacMenamin, M. A., & MacMenamin, D. L. (1994). Hypersea: life on land: Columbia University Press. Neimanis, A. (2012). Hydrofeminism: Or, on becoming a body of water. Undutiful daughters: Mobilizing future concepts, bodies and subjectivities in feminist thought and practice, 96-115. Nichols, W. J. (2014). Blue mind: The surprising science that shows how being near, in, on, or under water can make you happier, healthier, more connected, and better at what you do: Hachette UK. www.edge-zine.com

Sink II (Front Cover) By Jess Lauren Scott

It’s such an everyday sight but something about this view felt deeply personal and unexpectedly moving. I suppose it’s a kind of vulnerable, hidden side of the theatre of cooking. It’s a part of everybody’s day that they keep to themselves. 66

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MIRROR CUBE By Jane Coxhill

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Working in a non-art space, was the brief during my Mixed Media (Painting), level 2 course, and the Mirror Cube was the outcome. I am continuing to use the space of the river as inspiration for my Major Project work, so the work is ongoing and continues to develop.

You can also watch accompanying footage on our social media pages or the edge-zine website.

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“Call for Submissions...” You can’t stop it. Although it may be endless, for us there is only a limited amount of it and we often say there is not enough of it. We can use hands and the Sun to tell it... ...If you hadn’t already guessed the theme for our autumn edge-zine is ‘Time’. So submit your ‘Time’ inspired creations for your chance to appear in the No. 8 - Autumn edition of edge-zine.

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OCA Students and Tutors of all disciplines (fine art, textiles, design, photography, music, moving images, writing and all creative disciplines) are invited to engage and submit contributions, ideas, sketches, works in progress etc… for our theme, ‘time’, which is out in October this year. Don’t forget that media using sound and moving image can also be submitted (.mp3 & .mp4 preferable) to be embedded in the digital zine, and throughout our website and social media platforms. We would ask you for a min. 200 word written explanation of your creative process, or written accompaniment for our printed edge-zine and we would include a written link to where your work can be viewed / or heard. Use the submission form, of which the link is also available via our website or on facebook, which allows you to submit up to 10 files with max 100 Mb (please note that not all images submitted may be used).

Incomplete submissions will not be accepted. We get a lot of wonderful submissions and although we try to include as many of as possible, 80 pages are surprising limiting so please don’t be disheartened if your submission hasn’t made it in this time, where possible you will be given priority in the next edition. Your contributions are what make edge-zine, what would a student magazine be without them? So whether you have a ‘Time’ themed piece lying around or you have an idea you want to share, the submission deadline is:

Midnight, September 4th 2019 We look forward to seeing, watching and/or hearing your submissions for our Autumn edition. Your edge-zine team.

Holly Yates 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.

Jennifer Wallace I am a BA Creative Arts student, on the now defunct pathway which allowed me to end up focusing on drawing and printmaking above all else.

www.holly-yates.com

Dawn Langley My work is mainly about impermanence, change and the human condition. I usually work conceptually and am influenced by expressionism and abstract expressionism (mainly Colour Field). My starting point is generally photography but I work increasingly with mixed media, collage and decollage. I also like to draw on a wide range of influences from poetry to textiles, and from painting to graphic design. I am a Level 2 photography student with the OCA, having just completed Digital Image & Culture; I also work in food photography. www.infinitecuriosity.photography (OCA Learning log) www.alchemy-photography.com 72

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Catherine Banks I was born and brought up in Sheffield but gradually wended my way south to end up here in leafy Surrey. Having left school early, I returned to learning as a mature student after my children were born, including an Open University Degree. Before retirement I worked as probation officer then mental health social worker, becoming involved in post-qualification training plus NVQ qualifications for social care managers. I’ve always thought I wasn’t an artist but am slowly realising that it’s possible if I let my intuition guide me and don’t try too hard! www.instagram.com/cbankssurrey/

Amano Tracy Armano has been an OCA student for nearly 12 years and photographing for 30 years. Focusing on wildlife particularly birds, the OCA offers the chance to explore the medium of photography.

www.amanosamarpan.com

Jess Lauren Scott Painter. Currently undertaking a two month artist residency in a Nepalese village. Thematically interested in the human experience. https://jesslaurenscott.com

Holly Woodward Stefan J Schaffeld Born in the Netherlands, I lived in many countries and relocated frequently. I did make a living in corporations but realized that while growing up with painting before starting to speak quite late I wanted to work in arts. Traveling quite frequently, I am happy to be able to follow a degree in Fine Arts. My life became meaningful again. Besides art, I do work as an art therapist and solution focused coach. Since end of last year, I felt a stronger drive and momentum in my art practice through exhibitions - keeping my spirit high. www.instagram.com/stefanschaffeldart www.facebook.com/stefan.schaffeld.artist

I am currently studying Digital Image and Culture on the Photography pathway. As a complete beginner when I started the degree, I had no idea where my studies would lead my own work, and it turns out I enjoy playing with material aspects of the physical image, including over-sewing, cutting and alternative printing techniques, both analogue and digital. At present I am experimenting with the effects of serendipitous accidents in image printing and more of my work can be seen on my Instagram account @hollywoodwardphotography and on my blog at https://hollyocadic.wordpress.com/ www.edge-zine.com

Anna Goodchild

The end is nigh! Project website: www.annagoodchild.com OCA blog: www.annasyp.wordpress.com

Jane Coxhill I am a level 3 painting student, currently working on my Major Project. www.instagram.com/janecoxhill/

Michael Green My love of photography led me to the Open College of the Arts where I have enjoyed learning more about the art of photographs. I am currently near the end of the module Identity and Place which I have found challenging but have developed new skills through the module. Being lucky to travel a lot bit allows me opportunities to try out different techniques in varied spots around the world. My preference for artwork is varied I enjoy looking at all types of work and think we can learn and develop by working across disciplines. I look forward to curating Edge Magazine into the future.

www.michaelgreenidentityandplace.wordpress. com www.michaelgreenoca.wordpress.com

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

Karen Woodfield Creative Art Degree pathway with Textiles and Photography currently completing Digital Image and Culture. Communications co-ordinator for the OCA South West UK Regional Group. Lives in Bath, Somerset. My practice is based on contemporary 3D textiles with my favourite techniques of casting & moulding, collage, wrapping and photography. My developing practice comes through as working with creative experimentation plus thorough and informative research.

Lynda Kuit Currently a student on Level 2 Photography. www.lyndakuitphotographylandscape.wordpress.com/ www.lyndakuitphotographydocumentary.wordpress.com/ www.flickr.com/photos/lyndakuit/ www.instagram.com/lynda.kuit

www.karenpwoodfield.wordpress.com/

Simon Chirgwin

Sculptor, art theorist, author and lecturer.

“When I was 10, I was given a Kodak Instamatic loaded with black and white film. It had a slider for different weather conditions and a little square hole to look through. The shutter release was a flat, stainless-steel plate...” a snippet from ‘about me’ which can be found on the artists website.

Contact: mare.haff@gmail.com

www.schirgwin.com

Renate Maas

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Your Sue Parr www.instagram.com/sueparr000/

Amy-Sarah Opitz ?

www.instagram.com/riftedcreation 76

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Stefan J Schaffeld

Michae

My motivation:

My moti

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 donâ&#x20AC;&#x2122;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 artistâ&#x20AC;&#x2122;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.

olved with edge wanting to w skills whilst helping develdent-led zine. So far so good I rnt lots met lots of new peoam enjoying being involved zine.

bition:

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

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A preview from â&#x20AC;&#x2DC;Water - Our most vital elementâ&#x20AC;&#x2122; By Michael Green

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â&#x20AC;&#x2DC;Bottled Waterâ&#x20AC;&#x2122;

Jennifer Wallace, [pen and ink on paper]