www.chiuni.ac.uk/fineart University of Chichester, artOne, Bishop Otter Campus, College Lane, Chichester, West Sussex PO19 6PE
Contents 03 Introduction
Degree show students
43 Studying Fine Art at
04 Anita Babey
17 Harriet Dwyer
29 Brett Macpherson
05 Elizabeth Beamer-Rimmer
18 Roseanne Elliott
30 Kathryn Madden
& Claire Bell
31 Eileen Maspero
Chichester University 46 Directory of staff
06 Amy Bettis
46 Find out more
07 Claire Bingham
19 Rhys Ellis
32 Alex O'Rourke
08 Dee Brien
20 Kim English
33 Chris Raquet
09 Diana Brighouse
21 William Gray
34 Hazel Tremellen
10 John Clements
22 Louise Green
35 Jade Turner
11 Asherly Cooper
23 Lucy Greenfield
36 Chris Whittington
12 Maggie Cronk
24 Patricia Grindey
37 Patrick Wilkins
13 Jessica Crookes
25 Lauren Harrison
38 Rhoda Wilson
14 Nicole Cusden
26 Hannah Hopkins
39 Danielle Withers
15 Ian Denne
27 Belinda Lawrence
40 Joe Worthington
16 Harriett Dhivar
28 Sophie Love
02 www.chiuni.ac.uk/fineart
No longer just an object... The foremost measure of artistic achievement used to belong to the ‘aesthetic’ and to the values and properties ascribed to objects that conformed to forms of taste. In visual art the aesthetic dimensions include the cultural, social context as well as those of the purely visual effects and formal qualities of the object.
Over time it has been the role of artists to act as critical voices and to challenge pre-existing forms. The challenge for art in the 21st century is to continue this vanguard position and to act critically in creating work that operates within new and expanding frameworks of artistic achievement. This year’s students have risen to embrace this challenge. This Fine Art degree exhibition shows the creative flair and ambition of these artists. The Fine Art programme at the University of Chichester continues to push at boundaries and to open new possibilities for art whilst also re-tuning existing forms in order to maintain art’s critical relevance to a changing world. The Fine Art programme continues to build on its growing reputation for high quality work and substantial student achievement. There are many objects in the degree show and their objective is not simply to show skill and judgement in the making of work. Whilst this is clearly evident, the work also activates and stimulates viewer responses, to raise questions and to keep our encounter with art vital and alive to shifting social and cultural concerns. The work displayed reveals the breadth of resources available at the University. The diversity of material practice and approaches reflects each individual artist’s skilful use of materials and complex processes as well as their personal passions in making art.
Their work reveals each artist’s insights into the making of new work at a time of swiftly changing cultural contexts and the new, challenging fortunes of the still young 21st century. The work in the exhibition and represented in the pages of this catalogue mirrors the contemporary art scene. The work responds to the broad parameters of visual production and also to the innovation and ambition necessary for new work. There are figurative, narrative and formal abstract paintings; innovative sculptural construction including systems approaches to space and site; idiosyncratic uses of objects and sound; textile constructions; installation work; photography; and an approach to interactive, audience participation which places a new emphasis on the possibilities of art as a community based activity, art which moves out into the ‘everyday’ as a form of social engagement. This year’s students have brought their work to the highest professional standards and have produced an exhibition of real distinction. I would like to congratulate them all on a very notable achievement, indeed to have produced an ‘object lesson’ in how to do it! On behalf of the whole academic and technical staff team (and very many thanks to them also) I wish all of this year’s degree students every success for the future in the knowledge that their experience at the University of Chichester will enable them to continue to achieve at the highest standard.
Steve McDade Subject Leader Fine Art
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Anita Babey There is beauty in ‘un-posed’ positions born from unawareness. My subjects are captured on camera when they are ultimately relaxed and lacking self-awareness. I transfer these intimate forms of the body from photographs to paintings with the suggestive qualities of a range of liquid media. Email: anitababeystudio@googlemail.com | www.anitababey-studio.co.uk
04 www.chiuni.ac.uk/fineart
Elizabeth Beamer-Rimmer Audio Installation: "All truly great thoughts are conceived while walking" - Friedrich Nietzsche. My work explores the intrinsic link between walking and thinking. It is a dualistic experience with an unfolding dialogue and moments of synchronicity that create a sensory experience while simultaneously altering our perception of the world around us. Email: elizabethrbr@hotmail.co.uk
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Amy Bettis My work explores tensions between the monotony of prescribed ‘modernity’ and the connotative suppression of arcane and primitive psychosomatic representations. I have reworked an ancient and arcane form to express repressed concerns of the human condition, and to illustrate the oppression of the expression by modernity and the control of its dictates. Email: pyrate_queen509@hotmail.co.uk
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Claire Bingham I am interested in the feelings and emotions left behind in the waking hours after dreaming. I have developed a technique that allows the viewer to engage with my work on a personal level, inviting them to explore their own unconscious thoughts through a process of free association. Email: clarebingham@btinternet.com | www.ncbingham.co.uk
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Dee Brien In making a knitted representation of a familiar object (the chair) it assumed anthropomorphic qualities whereby the chair became a person. I have looked at how to make an absent subject appear to be present. What is not there can be implied, not by projection but by suggestion. Through the dressing and relationship of the 'empty' chairs groupings or families can be inferred. Email: deebrien1234@yahoo.com
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Diana Brighouse My work started by making a journey to the place where I was born. It has developed to explore the physical and psychological journeys that we all make. I have been influenced by the works of Annette Messager and Richard Long, and by the writings of Carl Jung. Email: dbrighouse@aol.com | www.dianabrighouse.mono.net
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John Clements If we look, breath, touch, smell, taste and hear; if we can still do all those things, paradise may still be there. When painting, one has to look, be aware, join what we are already joined to. We are a part of nature and only a part. If we destroy it we destroy ourselves. Email: jclements100@hotmail.com
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Asherly Cooper Combining the use of paint, ink and machine stitch, I aim to create work that reflects the energy that has gone into its creation. I paint and draw in layers, building composition as I work image, text and colour upon one another. Allowing mistakes to be made and rectifying them is key to how I work. Email: asherly@live.com
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Margaret Cronk The boathouse at Swanbourne Lake, Arundel, stands juxtaposed in its urban quality to the rural landscape. By using intagliotype prints, I have tried to reflect the scarred nature that the graffiti creates. The narratives behind each piece of graffiti give the boathouse a new history. Email: plutolupin@yahoo.co.uk
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Jess Crookes My work is about exploring the relationship between photography and stitch and the combination of isolation and lost identity. The use of stitch, together with layering, repetition and photocopying, nullifies the photographic image, losing the figures identity, to anonymous, floating, isolated shapes. The ambiguity of the work provides a deep and engaging approach. Email: jcrookes1@hotmail.co.uk
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Nicole Cusden I use textiles in my work for their intrinsic relationship to the body - we wrap ourselves in fabric every day, we sleep in it - it is almost like a constructed removable skin. I aim to evoke the human form without depicting it; through the fabric's natural creases, drapes and folds. Email: nikki_c36@hotmail.com
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Ian Denne By working in ceramics with Raku firing I have created architectural sculptures which encroach on each other. These are displayed using grids, blocks, texture and colour to deliver a combined sense of organic aesthetics. I have also aimed to challenge the conflict between art and craft. Email: i.m.denne@btinternet.com
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Harriett Dhivar I have been looking at the tradition of marriage, undertaken by different cultures, in many different situations. In my work I have looked into family history, cultural traditions, social injustices and different peoples personal experiences and struggles to get married. All the things I have looked at relate directly or indirectly to my own experiences. Email: mrsdhivar@hotmail.co.uk
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Harriet Dwyer Using observation, description and selection, I am trying to learn to draw. I am interested in the human form and like to combine contemporary social influences and motivation with traditional techniques. I hope that people are able to form an emotional, empathetic relationship with the figures in my drawings. Email: harriet@harrietdwyer.co.uk | www.harrietdwyer.co.uk
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Roseanne Elliott & Claire Bell Being in a collaborative partnership offers wide creative potential and a sense of intrigue to the working practice behind the piece. The work is a culmination of this partnership; a bringing together of both two dimensional and three dimensional disciplines. We intend to create a sensory experience for the viewer, something that evokes a feeling of repulsion, yet is somehow strangely beautiful. Email: elliottandbell@yahoo.co.uk
18 www.chiuni.ac.uk/fineart
Rhys Ellis Based on my personal links to specific places and influenced by the artist Frank Auerbach, I have developed a body of work that explores both the importance of observation and the relationship of the energetic mark making that conveys the unique surroundings that many interpret as home. Email: rhysellis17@hotmail.com
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Kim English Using carefully selected photographic images I explore space and shadows through layers of print, the work is influenced by fairy tales and inspired by memories of childhood wonder and fear. Email: kimenglish@btinternet.com
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William Gray My work explores the theme of death as an individual experience, by using light, the medium of installation art and having been influenced by Barthe's theory of 'The Death of the Author' I have created accessible public art which communicates through stereotypical semiology with an ambiguous slant. Email: w-gray@hotmail.co.uk | www.williamgray.co.nr
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Louise Green My work is about the act of seeing at every stage of development, the final outcome and the viewer’s perception. As Gerhard Richter said “What counts is always the seeing. The physical act can’t be avoided, and certainly it is sometimes necessary to paint with the whole body,” Email: Louisegreen87@hotmail.com | www.wix.com/louisegreen87/LOUISE-GREEN-ARTIST
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Lucy Greenfield I am interested in the arrangement of formal elements within a space. Drawing is used to explore the visual relationships within the work, colour and shape being central to this. Screen print, cut paper and drawn line are combined to create imagery that is aesthetically balanced. Email: lucy.greenfield@hotmail.co.uk | www.lucygreenfield.co.nr
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Pat Grindey The Hot Breath of Civilisation, Installation, mixed media. Ideas are the currency of my work rather than any specific material practice. This work, whilst exploring many aspects of the Climate Change debate, has focussed on the use of fossil fuels in transportation, with emphasis on power, potency and the Pleasure Principle. Email: attribution@hotmail.co.uk
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Lauren Harrison This piece is a fusion of Sound, Internet, and moving image portraying the invasive and over-bearing nature of the World-Wide-Web. Social networking sites allow organisations to access personal information and in some cases are used to monitor individuals. This multi-channel spectacle will leave you to question, and confront these troublesome attributes. Email: lauren_h2001@hotmail.com
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Hannah Hopkins I have always found portraits compelling. I am fascinated by the people they portray. A good portrait draws the viewer in and offers a connection with the sitter, whether it is presenting us with mood, character or emotion, there needs to be a little glint with which the viewer can identify. Email: hannah@hannahhopkins-portraits.co.uk | www.hannahhopkins-portraits.co.uk
26 www.chiuni.ac.uk/fineart
Belinda Lawrence Based on images within my local area, my paintings are a mental, physical and visual response to feelings and sensations encountered whilst walking in the landscape. The result being an 'eclectic' portrayal of lost heritage and our cultural impact on nature and the landscape. Email: belinda.lawrence@btinternet.com | www.purplemagpieuk.com
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Sophie Love Chairs have a direct reference to the human form while making few emotional demands. Found objects come ingrained with an unknown history of use, disuse and ultimately rejection. My work explores binary oppositions; construction/deconstruction, disparity between form/function and the inter-dependence of the oppositions; destruction of the original is necessary in creation. Email: sophieelove@hotmail.co.uk
28 www.chiuni.ac.uk/fineart
Brett Macpherson I produce paintings in homage to the Old Masters, using modern painting techniques such as spray paint to produce my own versions of their work. I believe the styles of the old masters should not be forgotten and I want to make them live for a contemporary audience. Email: primebritishbeef@hotmail.co.uk
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Kathryn Madden My chosen material is Portland stone, my motif the human head. The technique is direct carving with a mallet and chisel. The scale is monumental. We know our past through the fossil record trapped within the layers of stone. The human head has always been the perfect vessel for representing the condition of mankind. Email: kathrynmadden@btinternet.com
30 www.chiuni.ac.uk/fineart
Eileen Maspero My current body of work is autobiographical, based on childhood memories and experiences. I have been exploring identity through the fragile medium of raku fired tiles and these, with their sense of order, form the basis of the composition and are symbolic of the family home. Email: eileen@decimadesigns.com | www.decimadesigns.com
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Alex O’Rourke Art is intrinsically linked with the audience who are to interpret it. It does not fulfil its veritable potential without the aid of the viewer. My work highlights this notion by means of interaction. The human presence is integral to the work’s existence. Email: t5alex@hotmail.co.uk
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Chris Raquet ‘The Conservation of Angular Momentum’. This work is about energy, line and structure. It is about the forces which are exhorted through its parts and joints. It explores wood (tree) as material and our dominance yet reliance upon nature, whilst its’ structure is twisted about the space through human choice and the laws of physics. Email: chrisraquet@hotmail.co.uk
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Hazel Tremellen My work is an ongoing project involving a social interaction that has been influenced by the performance work of Anne Hamilton. The process of repair and renewal questions the categorisation of art and craft, alongside the old-fashioned concept of ‘Make do and Mend’ (whereby thrift and domestic economy was encouraged). Email: mellonart@hotmail.co.uk
34 www.chiuni.ac.uk/fineart
Jade Turner Tedious, repetitive and obsessive; direct observational work using biro, stitch, screen print and etching. The kitchen’s domestic situation offers a subject matter that changes even whilst drawing the objects. Every picture is similar but never the same. The use of media shows the chaotic state of this living space in its hectic mess. Email: u.beast@hotmail.co.uk
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Chris Whittington My work is an expression of a journey taken during a specific time frame, and through particular places. The scale of my current work allows the viewer to interact and create their own journey around, and within, the space I have created. Email: chris@decimadesigns.com | www.decimadesigns.com
36 www.chiuni.ac.uk/fineart
Patrick Wilkins The work revolves around the use of ‘Ikea’ style generic object forms and materials, and the transformation, morphing, combining and re-combining of these forms and materials. The intention of the work is to take the everyday, and through the process of distortion, make it recognisable, yet unfamiliar. Email: pwilkin1@hotmail.co.uk
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Rhoda Wilson Recording of C17th plant names. Group listens and dreams, discusses reactions and ideas, shares tasty treats. See timetable of events during Degree Show. Join a group. Be amazed at the ideas you find in your mind! Email: rhoda@northwalls.demon.co.uk
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Danielle Withers 19, 25, 19, 20, 5, 13 expands on a childhood game creating a monotonous system with which the artist has developed an obsessive fixation. Five stages surround the artist, starting with letters and numbers; then ending with a monochromatic pattern. I want the work to stand for the process, creation and development of art. Email: daniellewithers@yahoo.co.uk | dwithersart.limewebs.com
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Joe Worthington My work explores human identity through the complexity of colour and its representation of social, cultural and subjective symbolism. The figure is paramount to my work, but remains as passive as the object on which it is painted on. The repetition of the individual signifies the surrendering of identity to commodity. Email: colourtongue@gmail.com | www.iamjoy.co.uk or www.thejoygallery.co.uk
40 www.chiuni.ac.uk/fineart
Object lesson...
Fine art at the University of Chichester BA and MA Fine Art, inclusive specialist and/or multidisciplinary courses offering each student a range of skills, disciplines and aspirations appropriate for contemporary artists of the 21st Century. Some Fine Art degrees in the UK ask you to make choices based on a single discipline or subject. At the University of Chichester, we recognise that not all students wish to be labelled so early in their education, and may want to learn a range of disciplines before becoming more specialised. Built around this principle, our programme of study allows students to specialise (i.e. textiles, sculpture, printmaking, painting or digital art) OR to move between various disciplines over their period of study as they develop their own ‘hybrid’ practice (i.e. textiles and metal sculpture, painting and digital photography, printmaking and ceramic sculpture etc). Centred firmly within leading edge contemporary art, we encourage students to become confident practitioners through creative experimental approaches within singlediscipline OR multi-disciplinary studio work. This approach will enable individual responses to concepts, issues and themes that reflect contemporary professional Fine Art through a range of material practices such as; sculptural and video installation, painting, sound and performance work, site based work and textiles as well as site-based work in different environments. The Fine Art BA and MA Programmes at the University of Chichester are focused on individual progress and achievement with the freedom to explore studio and workshop practice across a broad range of skills and techniques.
You will find support and help from the staff and technicians to enable you to get the most out of your experience. Fine Art will work for you when you meet the challenges you face with drive, intellectual curiosity, a sense of adventure and an ability to deal with the unpredictable. The staff team look forward to helping each of you develop your skills and ideas as you become increasingly confident in your work. Fine Art is at the forefront of cultural production, trailblazing new territories for others to follow. You will become part of this momentum and by entering the community of artists at Chichester, you will be supported and encouraged to extend your work into new creative areas and make new discoveries. The Fine Art programme is centred on the concept of practice as research. This can be seen as a bringing together of all aspects of art knowledge, skills and critical understanding to the investigation of materials, experimental approaches to processes and to the construction of new responses to the making of art. Practice as research makes the fundamental connection between theory and practice that forges new links and relationships between materials and representations to create new insights to the socio political context in which we live. Fine Art is exciting and deeply rewarding. It will take you deeper into the subject that you already have a passion for, so be prepared to take some risks and to challenge assumptions. And remember also, that whatever you make has never existed before!
The study of Fine Art at Chichester encourages you to be creative, research driven and will provide skills for the production of art and associated professional skills essential for employment in the 21st century.
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BA Fine Art (FHEQ levels 4, 5 & 6) Main studio activities At present our main studio activities are: • Painting: Oil, acrylic, drawing, construction, mixed media. • Textiles: Constructed textiles, feltmaking, embroidery, papermaking, printed textiles, mixed media, installation, • Sculpture: Wood, metal, casting, plaster, ceramics, found materials, mixed media, installation, • Printmaking: etching, screenprint, relief print, monoprint and combined media. • Digital Art: digital photography, video, sound, net.art, animation, installation. Methods of study In level 1, students will initially be set a series of research and drawing based activities that will drive the students’ ideas towards a self-directed practice, greater independence, and by level 3, the attainment of a distinctive vision. • Studio practice: Both individual and group tutorials take place regularly, as well as ‘crits’ and other group work. A flexible teaching and learning strategy offers a variety of student centred ways for students to grown in confidence and develop an understanding about their own work. • Workshops: workshop instruction occurs throughout with our specialist team of tutors.; 3 hours per week. • Contextual strand: Lectures and seminars for 3 hours per week, with the option of 1-1 tutorials on request. • Visiting Artists: a programme of national and internationally renowned artists allows valuable insights into professional practice and and provides students with seminar and tutorial discussion on their studio work. Lectures and seminars in the contextual strand and the peer group critique in the studio, support independent, self directed work. Students will learn to create their own negotiated pattern of work as they move towards a final exhibition for their degree show in level 3. At Chichester, drawing is seen as an important element in the development and realization of ideas and is the basis of the initial studio work at level one. The degree can be taken full-time or part-time.
Professional experience It is vital that students are prepared for at least some of the things the contemporary art world will throw at them on graduating. We have developed a programme in which level 2 and 3 students have to focus on aspects of professional practice and vocational experience. Recent students have worked on site-specific commissions, community arts projects, and work placements with local galleries and museums, residencies in schools, and even creating their own virtual gallery. The experience is invaluable in terms of working to time and budgetary constraints and dealing with the public.
Employment The course provides the opportunity to develop skills across a broad range of areas and become resourceful, reflective learners, finding creative solutions to new problems, with the ability to be self-disciplined and able to work independently. ‘Creativity’, thinking ‘out of the box’, and good communication skills (visual, verbal, and written) are all key skills that employers are seeking, and these are fundamental skills developed by Fine Art. See brief biogs of former students at http://www.chiuni.ac.uk/fineart/FormerStudents.cfm to demonstrate how some are using their skills to be artists while others are using them successfully in all sorts of other professional arenas. Critical and contextual strand The Critical and Contextual Strand encourages Fine Art students to re-think the nature of the Visual Arts; In addition it develops study skills necessary for the Personal Study in level 3. The integration of theory and practice provides the stimulating scholarly debate that is central to teaching and learning, offers students an opportunity to relate concepts to their own studio practice, and most importantly, enables students to be able to argue why their work is as relevant to contemporary practice as that of other artists in the spotlight. Assessment Assessment occurs throughout the course in the form of visual and oral presentations, seminars, group critiques, essays, exams and culminates in the final year degree exhibition of practical work for all BA students.
Study trips We offer the opportunity for all students to visit a major international city at an affordable cost to study the museums, galleries and culture. Recent cities have included New York, Barcelona and Madrid. Trips to Museums and galleries in London and other urban centres occur throughout the academic year. Exchanges Currently we offer student exchanges for selected level 2 students to go: Valance in South Eastern France, or Thomson Rivers University in Western Canada.
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MA Fine Art (FHEQ level 7) The course is designed to support your studies and to enable you to strengthen your position as an artist. The move from undergraduate to postgraduate study is characterised by the depth and focus of research and with the increasing sophistication of a critically reflexive material practice. The emphasis of postgraduate research is on the intensity of autonomous study coupled with and supported by rigorous debate and interaction with staff, visiting artists and fellow students. The course aims to enable you to achieve a critical reflective practice where studio work becomes the testing ground of methods, genres, concepts and contexts, and challenges the boundaries and relationship between theory and practice. For further information visit http://www.chiuni.ac.uk/fineart/MaFineArt.cfm.
Duration of the MA course Full time – 12 months (September to September). Part time – 24 months (September to September)
Applications and entry requirements for the MA We expect new MA Fine Art students to come with a good understanding of how they might fit within the broad context of contemporary fine art practice, and show ability to work confidently within this area. We welcome international applications and look forward to working with artists from a variety of nationalities, backgrounds, and experiences. You are expected to have an Arts degree at 2:2 or above or a relevant professional qualification/experience equivalent to a degree. For further information contact the Route Leader, Dr. Shirley Chubb Tel: +44 (0)1243 816196 or Email: s.chubb@chi.ac.uk
Facilities & staff The learning environment All BA students doing ‘studio practice’ modules (i.e. Single Honours and Major) and Full Time MA students are allocated a personal studio base where each student will carry out their self directed projects and art work. All students also have access to workshop areas and technical support in the following key disciplines: Welding, casting, working in wood, carving, ceramic and plaster, woven and printed textiles, feltmaking, embroidery, drawing, painting, printmaking, digital photography and new media, video and sound. Students have access to instruction and demonstrations in these key disciplines throughout their study in a culture of safe working and professional practice. ‘artOne’ Fine Art is located in a purpose-designed art building called ‘artOne’. The building: • provides specialist workshop areas in Sculpture and Textiles, • a large spacious open plan studio for personal spaces, • a life drawing space, • an art materials shop, • a Gallery • an outdoor working area.
Lecturing staff The lecturing staff are active practising professional artists and researchers who regularly exhibit or publish their work. The friendly team of staff have expertise ranging from painting, sculpture, textiles, digital art, printmaking and installation. There is a programme of visiting lecturers who bring professional contexts and enhance distinctive, specialist skills and practices (past visiting lectures listed at: http://www.chiuni.ac.uk/fineart/FineArtAcademicStaff.cfm)
Technical staff A team of technicians with a broad range of specialist expertise support the staff and students.
The Otter Gallery The Otter Gallery is an on campus Art Gallery open to the public. Each year a programme of exhibitions is organised to include the work of established and emerging national and international artists. The Gallery is also used to exhibit both student and staff work and also work from our own ‘Otter Collection’: an important collection of British 20th century art which includes work by Henry Moore, Patrick Heron and Stanley Spencer.
Pallant House Gallery, Chichester Students can take full use of the research opportunities offered by the gallery in supporting the critical and contextual strand through group visits and by becoming members of Pallant House Gallery. Pallant House Gallery is one of England’s leading galleries. It’s collection of 20th Century British art is a wonderful resource for study. The gallery won the 2007 Gulbenkian Prize for museum of the year in recognition of its status and public accessibility. Pallant House has a programme of visiting artists, artists talks and an exciting programme of exhibitions that showcase the work of leading contemporary artists. The gallery has links with the Otter Gallery, and strong links to the Fine Art course. www.pallant.org.uk
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Directory of staff Academic Staff Steve McDade – Head of Fine Art Chris Aggs – Painting & print Victoria Brown – Textiles Shirley Chubb – MA coordinator, print & mixed media Rachel Johnston – Textiles & mixed media Chris McHugh – Painting Tim Sandys-Renton – Admissions tutor, sculpture & video Associate Lecturers Elizabeth Colley – Painting Jez Stevens – Digital art Professor John Gibbons - Sculpture Mary Stevens – Print Art Technicians Di Hockin Nik Jewell Bob Marshall Anne White Media Technician Sarah Wright
External Examiner for BA Professor David Manley – Emeritus Professor of Art, University of Derby External Examiner for MA Professor Allan Walker – Glasgow School of Art Course Administrator Christine Ferguson Subject Librarian Wendy Ellison Visiting Lecturers from 2009/10 Matthew Burrows Marc Steen Mark Power James Faure Walker Gerry King Brian McClave Chris Orr R.A. Gavin Peacock Clio Padovani Angela Kingston Josie Aston
Find out more Open days, evenings and shows • General open days • Mature Students' Evenings • Fine Art specific Open Days • Fine Art Degree Show Open Days are held throughout the academic year. You may attend talks about the course structure, tours of the workshops and studios in artOne, and you might also like to book a portfolio advice and preparation session
Find out more For more information visit our website or contact: Christine Ferguson, Programme Administrator Department of Fine Art University of Chichester Bishop Otter Campus, College Lane, Chichester, West Sussex PO19 6PE Tel: 01243 816253 Fax: 01243 816080 Email: c.ferguson@chiuni.ac.uk web: www.chiuni.ac.uk/fineart
Catalogue Credits Design: Graham Roy Donaldson Photography: Bob Marshall
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fine art 2010