BELFAST The Creative Journal
Volume 1 - February 2012
VISUAL
VISUAL BELFAST
GET INVOLVED Calling all Photographers/ Writers/Artists/Designers
Visual Belfast has been created so that students in the Belfast Campus may have ownership over a publication that is also a respected and esteemed way to promote their work. It is a publication that will include students work, interviews with Tutors, UUB Graduates, Artists in residence as well as covering many student issues and answering questions posed to our VP of student and academic affairs, Stuart Cannell. Being involved in a University publication such as this will look good on any CV. Why not be a part of it? Email VP Stuart Cannell at vp.belfast@uusu.org and check ‘Visual Belfast’ out on Facebook
VP VIEWS For the people who do not know me, I am taking a year out in between second and third year of printmaking. I noticed that there was a lot that could be done to promote the art students within this University, and so we began thinking of many projects through the year that could be carried out. We started this project to help promote local talent. In this Art College there are hundreds of students waiting to be unearthed, and we believe this Journal will be a progressive way for them to highlight their artistic abilities. Whether that is in writing, design, inventions, architecture, ceramics, printmaking, painting, fashion (the list goes on), there is a place for everyone within the Journal. In conjunction with this Journal there will be a number of videos released each month to give you a flavour of the students and lecturers here. You will be able to see what life is really like as an art student, and what their opinions are on their work and the environment around them. Think of it like a ‘Tateshot’ with a Belfast tweak! I hope you enjoy this Journal, and please feel free to write to me with any comments or suggestions you might have.
Content
Vice President, Academic and Student Affairs, Stuart Cannell
Student Interview : Rose Quinn 2 Lecturer Interview : Janet Preston 8 Graduate Interview : Gerard Carson 10 / Stuart Calvin 12 Artist in Residence : Lauren Crabb 14 / Ross Watson 15 Gallery Review : Home Grown 16 / Late Night Art 17 / Contemporary Applied Arts Exhibition 19 Agony Uncle : 22 Just A Thought : 25 designed by Enyo Belfast 1
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Visual Belfast opened a competition in November 2011 asking for Belfast campus students to send images of their work that might be suitable for the front cover of the new journal. The prize was to be an interview and four page spread within the journal focusing on the winners practice and work as well as the winning image to be the front cover of the journal. Rose Quinn’s winning image stood out particularly amongst a very highstandard of entries because of the way it was composed and the intriguing nature of the content. It evoked curiosity and that is what the judges of Visual Belfast loved about Rose’s image. Here is her interview where Rose tells us a bit more about her work and inspiration. 3
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an hour once it’s opened. I will fill a stitched piece of material with foam and leave it over night and allow it to form its own shapes TE and bulges. It is a lot about how RV I when the foam is growing, how I manipulate the shape with bulges and the way I stitch the Why did you choose to study material! STVP? Well, I did Foundation art and design here at the University of Ulster and towards the end of that year I specialised in sculpture. I then went into this, sculpture, video, time and photography all under one area. During first and second year you could say it is more practical and experimental but you don’t really know where you are going with it. People always say you will be lost in your first year but I just experimented with materials, reusing things and playing with different materials like netted curtains.
Do you prefer your finished work without the material around it or with the material still intact?
That is the question! I like it without the material but at the moment I am working on a final piece which is going to use a wood burner to leave some of the lace pattern on the cast once I rip the material away. So, I like the casts that the foam leaves but I also like how the material rips off and some of it almost looks like a rupture or a gash. I have been questioning the physicality of things like tights, and how the foam will fill tights Tell us a bit more about your and make the shape of a foot, like work this year and the expandwhat it is designed for! I started ing foam. putting wooden pipes down tights and trying to control the During the summer before third shapes that the foam makes etc. year I saw a guy using expanding foam in his work on the outside What is it you want to do after of his frames and I just thought Art College? it was very interesting how expanding foam controls and shapes Well at the moment I am not itself. I begin experimenting sure. In the future I would like to with expanding foam about 3 become an artist in residence months ago (September) and I with Arts Care who work closely really like how it controls time and with the health and social care space. A piece that I make with trust hospitals. They help patients expanding foam might take a to regain confidence again from a couple of weeks before it stops traumatic injuries and use art as growing and shaping itself. I prea tool to help them to gain new stitch things and the foam can skills and participate again in even rip the seams! daily life. I worked with Arts Sometimes I rip away the Care when I did my module; material on the outside of the Professional Practice in 2nd foam and it leaves a cast shape. year which was for 8 weeks. I I will use a whole can of foam in worked with artist in residence one go because it can dry up in 4
Cheryl Bleakley who is a current residence in Musgrave Park Hospital in Belfast. After graduating I think I will focus more on my work and building my small site I started last year, Rose Designs and see what happens from there. The reason I built this site was I think people who have the strengths in Art is a unique gift as you can make unusual items that are different to the high street. Man made materials do not have the same aesthetic qualities of a handmade product because dedication, time and love have been added into the piece. What is it about Art Therapy that you like? I find it very rewarding when giving a person another chance to live their life to the full again, regardless of their disabilities. I find it curious how art is difficult to measure in the scientific side i.e. the effects of arts and the visual environment in how patients recover. I like the free environment in an art studio when working with an artist in residence, their work is an additional to art as a talking therapy services. The individual does not need to tell of their past or traumatic injuries. However, Art therapy is a more clinical environment were a patient has to disclose their injuries to art therapists as they work closely with their trauma through the medium of art, sometimes art can help us to take our mind of daily things and help us to heal. This is why I think art therapy is very important. Describe your work in one word. Subconscious
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“My work is inspired by landscapes that have been untouched by mankind. Rural spaces that is rich with beauty, rugged, weathered and naturally eroded. Some preconceptions persist that the thrown vessel is functional and located within the domestic domain rather than being perceived as conceptual art.” Hannah Magee
“My grandmother suffered from Alzheimer’s. The aim of this work is to try to gain an understanding of how it might feel to recognize a face and yet not be able to place the person or place any memories of our relationship.” Christine Grant 6
“Stitch allows for my own interpretation, allowing connection or networking of words. I create multiples, which look simplistic, uniform, and monotonous, yet have deep layers of meaning, metaphors and association.” Lisa Lasgo
“This painting is of Brutalist concrete apartments in Ivy Sur-Siene, Paris. The clusters of apartments become scrambled and meaningless. The perspective is wrong and the stair on the right extends infinitely. Surrounding context is questionable or absent. Impossible shapes become structural, and the colour of the broken bridge’s interior questions its reality.” Ben Weir 7
Janet Preston
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Janet Preston is a part time lecturer in Print-making (Fine and applied art) in the University of Ulster, Belfast. In her own practice Preston has exhibited all over the world. We were very grateful to have the opportunity to hear a little about her most recent collaborative exhibition in Sofia, Bulgaria
Can you give us a brief history of yourself and how you became involved in your area of expertise? Well, I studied here. I did the undergraduate degree and went on to the a postgraduate. Then it was called Fine Art, not Fine and Applied art. I painted for more or less the first year and there was a lecturer here originally from Kansas, originally a print maker. So he commandeered a few of us after a lecture he took one day and at the time I was doing a lot of mono-chromatic work. I think he saw potential in my work to take it on to print making and so I stayed. So really it was encouragement from Ken Jones. There was another lecturer here at the time called Peter Ford who introduced us to photographic printmaking techniques. Would you say it was your lecturers at the time then, who inspired you to pursue a career in print making?
who was a part time lecturer and technician. In those days there were three technicians on the print floor, Bill, Kent and another artist called Terry Gravit. They encouraged myself and my contemporaries to join Belfast Print Workshop when we were still students. So I remember going there to print my degree show because Easter fell quite late that year and so the college was closed and hence we had no access to the college or the workshops, so I felt it was important for me to go and use those facilities. It was a steep learning curve and not an easy task! But it is something I tell students now, to become familiar with these studios and visit them all the time so they don’t seem as out of reach and unachievable when it comes to graduation!
member of the research institute here, so they support me as a practitioner. How do you feel lecturing impacts on your professional practice as an artist? Well, time wise, it can have a negative impact because I am not a member of any print work shop now. I fully support the two workshops here, I think they are brilliant places but I choose not to be a member. I prefer working here in the university because I feel if the students see me working and they know its through informal education, I believe they can learn a lot from me and vice versa. There is not a week that goes by that I don’t learn something in here.
Do you ever regret getting into Where do you think you would lecturing? be if you hadn’t joined Belfast Print workshop? Sometimes! Its like any job, there is no job out there that is easy. Its I was always completely swings and roundabouts. But that adamant that I was going to be a is real life. the students keep me practitioner, and I wanted to be going and its out there smelling an artist! I feel that is something the solvents and getting ink on students shouldn’t feel reluctant your hands, thats what I’m about. to say nowadays. The paper work and all the asides that the university throws at you, How many days a week do you of course I hate that, are you spend educating students? mad?!
Yes, absolutely, at the time time Ken Jones had just completed a residency at the Belfast Print workshop and we got to know him very well. He talked a lot about his residency at the Belfast print workshop and encouraged us heavily to become involved in that facility and get to know it, Three days a week. The rest of We know you have recently as well as Bill Penny at the time the days I research, as I am a full held an exhibition in Bulgaria 8
with Bill Penny. Could you tell questions that they asked us were us how this went? incredible. The nature of my work technically is very different from In 2007 in this Gallery in Sofia, the Bills but my work is about people Lessedra Gallery (which is named revealing things about how after the curators home town they live externally, things on balabout 2 miles outside of Sofia). conies, windowsills etc, whereas But Bulgaria is a country very Bill’s work is about the inside of much still in transition since the where people live - which was political system changed and this an interesting contrast in itself. Gallery owner has taken a huge Maybe it was a subconscious risk opening a contemporary art theme, I don’t know, but it gallery in sofia. He runs what’s worked. Next year the curator has called an annual international invited me back to to curate an mini print festival every year. He exhibition of my own of Northern encourages print makers, artists, Irish print makers, which is very practitioners from all over the exciting. I want to include some world to submit. It is also one of work of recent graduates. the few competitions in the world that students can enter their work Could you tell us the worst into. So you submit work, pay a experience of your career so small fee and he usually invites far? artists from all over the world to judge a competition. That Of course I have had disasters particular year I was a prize with organising shows etc. and winner and that was before I they are stories I tell back to started lecturing here. I always students because any negakept in touch with the gallery and tive experiences I have had has in 2008 I had a one person show taught me to be more organised there. and pre-empt these things. Not This exhibition with Bill Penny being allowed to drill walls in was a two person show and it a listed building to hang my was something that I instigated. work was one of the worst We didn’t set a theme as such, experiences because I had to it was just a continuance of our pull out of the show last own practice. But at the open- minute, which was a huge ing, the guests were so interested expense on my part so I had very and there was no level of ridicule little money to put back into what so ever. There were some my own work. So there you go, fine art students from the new maybe one of the worst things university of Bulgaria and the is not having the money to
produce the work. Thats when I then thought I had to get involved in a few outreach programs. I was very proactive in setting things like that up to generate money to help people like me produce work. Finally, how would you say the Art College experience has changed from whenever you studied here? Big time! Drastically. In fact I have been in this job for 5 years as an educator as well as a practitioner and I have never seen an institution change so much in 5 years! But I will always call this place an Art College. The degree show each year are such a big seller for this university, it’s visual, its what sells. People are very curious about what happens in the Art college. If you had one piece of advice for graduates hoping to succeed, what would it be? In times like this, when there is a recession, there are opportunities out there, there is just more competition for them. It is for the students to avail themselves and get their own work out there. They have to be independent and organise things for themselves. Take the initiative! Interviewed By Lucy Liddell and Stuart Cannell 9
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Gerard Carson
So Gerard, when did you go to the University of Ulster?
As part of Visual Belfast’s Graduate interviews Louise Younger meets up with Gerard Carson, a Belfast based Artist, specialising in mixed media installation, video and drawing.
I started at the University in the summer of 2006 for foundation studies, which lasts for one year, then went on to study BA Fine & Applied Art in 2007 and graduated in 2010. And who was your tutor when you were studying here? I had many tutors during my studies. Initially I began in painting, but then moved on to work in sculpture and in video. During my studies my tutors were Shirley MacWilliam, Tony Hill, Sandra Johnston, Brian Connolly, and Doris Rohr. They were all a great help! What is the best memory you have from your time studying here? I have many great memories from studying at the University, but seeing as I can only pick one, I would say it was at the end of my final year, completing my installation for the degree show. It was hard work getting the exhibition space organised, but was really fun and interesting to see everyone working on their own work and helping each other out. You did the STVP graduate
http://gerardcarson.tumblr.com/ http://www.arraystudios.co.uk/
residency last year! What was the art scene and maintained the that like? links I had made during my studies with galleries and curators At first it felt a little odd, also, so that I would be aware of just graduating and then opportunities that I could be a unexpectedly being invited back part of. for the residency, but I gradually began to fit into the role of an What’s life like after University? ‘artist in residence’. I was really pleased to get the opportunity to Life after College can seem give tutorials to the students and rather daunting initially, but you discover more about their work begin to settle into a routine of and ideas. It also gave me time to making work, seeking or creating develop my own work using the opportunities and developing audio visual department at the your practice gradually. I share college. a studio space with my friends Craig Donald and Katherine A lot of our students will be Rush, who both graduated from panicking about what to do the University . after graduation. What did you I find it really enjoyable to work do in the first few months after with them as we are all pretty you graduated? How did you go much starting out together and about finding opportunities? can chat about what we are doing Or did they come to you? in our respective practices. Well, just before I completed my final year, I was searching for opportunities online (using websites like visualartists.ie and wooloo.org) and chatting to friends about what they were going to do. Then I happened to see that Array Studios in Belfast were looking for new members to join, so I applied and was offered to join. It was soon afterwards that the tutors from STVP invited me to become artist in residence at the Art College. I made sure that I was always keeping up to date with what was going on in
students, what would it be? Any pointers for success? My advice would be to work as much as you can on your practice; it shouldn’t feel like a chore and make as many links as you can with galleries and curators outside of the Art College. They can be very helpful. Also keep in contact with your fellow students and chat about your ideas and work. They often help you realise things that you wouldn’t otherwise. If you could change anything about your time at University, would you? If so what would it be?
Hmm...tough question. I guess that I would’ve liked to have made more use of the College’s workshops and equipment. It’s What are you doing with only when you leave the Art yourself at the minute? And College that you realise how have you anything exciting on great the resources are. And free of charge too! the horizon? At the minute I’m working on a body of work that I will be exhibiting as part of the Array Studios exhibition which will be at Platform Gallery in Belfast in February 2012. I’m also applying to as many shows that I can. I’m hoping to organise an exhibition myself in the future.
And finally, could you describe your time at the University of Ulster in three words? Energetic, Fascinating, Motivating.
If you have any advice for our 11
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Stuart Calvin
Hi Stuart! What did you study when you went to the University of Ulster? And who was your tutor?
After graduating from STVP in 2011, Stuart Calvin has already shown work in numerous exhibitions across Belfast. After quite an eventful and exciting six months, he talks to Visual Belfast about studios, exhibitions, and just how much he loves Aisling O’Beirn!
I studied Fine And Applied Art – STVP down on the good old B floor. I had a few tutors over the three years but the one I felt I got most from was Aisling O‘Beirn. Aisling is a great tutor who is always spot on when it came to advice or making you consider your work from different perspectives. What was your favourite thing about studying here? What’s your best memory of the time you spent here? My favourite thing about studying at the Art College was probably the people I met. I made some really good friends. I think my favourite memory was the first day because I was terrified and excited, and the week before the degree show. Everyone was very stressed and nervous but the energy in the building was amazing. You now have a studio in Queen Street with two other graduates. Do you feel that it was better to get a studio as a group rather than on your own? It’s really exciting to have a place in Queen Street, the area has been
www.stuartcalvin.co.uk www.queenstreetstudios.net/
a real centre for the art scene in Belfast for years. We had each tried to work at home independently but all found it to be really difficult to focus on work at home. We decided that because we were able to work so well together in the past that it would be great to have a place together and so Pollen studios was born. Its good being able to talk to other artists while you’re working and also getting to try out ideas with each other is invaluable.
Gallery at the Cultúrlann. The committee from the Cultúrlann chose me during the degree show based on the body of work I had produced in my final year. I was completely delighted when I heard the news. The new gallery is such an amazing space and will be a real challenge to work in. Thankfully this week I learned that I have received funding from the Arts Council through SIAP for the show which means I can create some larger scale pieces needed for the space. I’m making all entirely new work for it and its You recently had an exhibition going to be hard work. It’s pretty ‘This is where we are’ along nerve wracking but exciting none side Jayne Cherry, which was the less. fantastic might I just say! How did that come about, and would A lot of our final year students collective shows be something will be panicking about life you would like to do more? after college. How did you spend the first summer after Thank you! It really came about you graduated? as a result of our studio space. We are on the route for the Panicking is probably a good late night art tour and felt that thing it motivates you to find although the space is quite opportunities. I was really limited that we could still fortunate to be approached by manage to put on a show and several people during the degree have space to work in. It was a real show. One of which was Hugh struggle as it was done on a tight Mulholland who owns the Third budget but I think we pulled it off. Space gallery. He invited me to be part of a group show called ‘The You also have a solo exhibi- status of the object’ in July, which tion on the horizon! Tell us a bit was a great opportunity for a more about that. recent graduate. I also spent a lot of time hunting for a studio I have a six-week solo show in space as I realised I had no room late April 2012 in the Dillon to make work in. I probably spent
a fair bit of time just trying to reorganise my life after college. If you could change anything about your time at the University of Ulster, what would it be? I would have spent more time in the studios! Like most people I had to work while I was at college to support myself and this took up a couple of days in the week, which ate into studio time. I really struggled in the first semester of final year to balance work and college. Another thing I would have done differently is to have made more use of the workshops and technicians. You won’t believe how much you miss those facilities when they are not available. If you have any advice for our students, what would it be? It’s great to get advice from tutors and peers, some of it is invaluable but don’t be afraid to disregard it and go with what you feel is right. Also don’t be afraid to change your mind at the last minute! I think some of my best work was a last minute decision. And finally, could you describe your time at the University of Ulster, Belfast, in three words? Steep learning curve. 13
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What have the Artists in Residence been up too I hear you ask? Visual Belfast caught up with a couple of them to see how they are getting on and to find out what makes them tick.
Lauren Crabb Weave
Why did you choose to come to the University of Ulster over other courses, and other Universities? I was always a creative person and wanted to pursue a career which stimulated me creatively and didn’t bore me to death.
What inspires you to do your work? Seeing the finished product.
Who is currently your favourite artist and why? At the minute I have been looking at Nancy Thompson’s and Beth Newing’s work, both graduate Do you regret choosing to study designers. a creative degree? Nope. What does the future hold for If you had to choose one other you? discipline that you would have I currently work part time in H&M liked to pursue, what would it whilst doing the Designer in be and why? Residence but I have an interview I am a textile designer and gradu- lined up in with Quantum Clothated in textiles but I would love to ing Group who design hosiery. learn pattern cutting, so I could Designing textiles as a career is design and make garments. a dream come true and it being in Northern Ireland is an added Please tell us about your most bonus. recent work. I’ve been working towards If you had 3 tips for success an exhibition the University is what would they be? arranging where I have been I wouldn’t say I’m successful … weaving eclectic motif designs yet, so I couldn’t advise anyone and knitting thick, stripy scarves else on how to achieve success. and snoods. I have also been Although I’d advise anyone startre-using my older samples from ing university to think about what final year to make coin purses. interests them and what they’d enjoy not what will get you the Could you describe your work best job after you graduate when in 1 word? picking your courses. Quirky.
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Ross Watson
Painting
Why did you choose to come to University of Ulster, Art College over other courses, and other Universities? I did my foundation at Tech in Bangor so going to the Art College felt like the natural transition to make. I knew I wanted to do a creative degree and didn’t want to go abroad to study so it was the obvious solution. If you had to choose one other discipline that you would have liked to pursue, what would it be and why? I love science, especially physics, so I would’ve enjoyed studying that. I only recently discovered my interest for it through my art practice, and it influences most of my concepts now. The great thing about art though is you can literally make it about anything that interests you; it’s completely open ended. Please tell us about your most
recent work. My recent stuff is about ‘Time’, the progression of time and the effects of time. It’s early days for this though, it’s really a development on my degree work which was about entropy (a term used to describe the gradual decay of everything;from order to chaos) and it’s effects on a human level. So my work featured alot of decaying objects, like bust up old cars, abandoned houses etc. I like to have alot of layers, both physically and conceptually, to my paintings. There has to be room for the viewer to make their own judgements aswell, I think that’s probably where most of the meaning comes from in the end.
know I’d always come back to art regardless. I’m really interested in loads of different things and they can all come into my art, it’s great. You couldn’t get that with anything else. Who is currently your favourite artist and why? I watched a film recently called ‘Ikiru’ by Akira Kurosawa. It’s about time, and how you can spend all your time accomplishing nothing; being busy but never achieving anything. I got a lot out of watching that. Films are a great inspiration for me, probably more so than paintings by other artists. What does the future hold for you? Poverty,probably. I’m optimistic though, as long as I can keep working and people can see my work I’ll be happy. Everything else is irrelevant really.
If you had 3 tips for success What inspires you to do your what would they be? work? Push yourself, never stop making, It’s very much a personal thing, I and find a patron! said before that I regret doing a creative degree sometimes, but I
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Where to go and what to see? Our Gallery and Exhibition section will give you all the low down that has been happening around Belfast and beyond!
The Review Section
Home Grown, F.E. McWilliam Gallery, Banbridge The ‘Home Grown’ exhibition opened this month at the F.E. McWilliam Gallery in Banbridge. Showcasing work from local artists either living in or associated with the Banbridge district, the exhibition covers a wide range of disciplines from video based work to textiles, bronze and clay sculptures to drawing and painting. Heather Fleming’s uncanny figures seem to challenge the idea of getting up close to a piece of art. Tucked into corners or behind walls, the figures, titled ‘An-other’, question the idea of stereotypes and our instinctive reaction to the ‘other’ person. Catching the viewer off-guard the work gives us a sense of unease, challenging our perceptions. Patrick Colhoun is another artist who makes use of the gallery design, positioning his twenty-five clay heads on the floor, in the full light of the gallery’s one window. With the backdrop of the garden and the McWilliam sculptures in it, his very personal work appears to have a strong sense of place. Colhoun’s work describes the “coming of age”. A single gold head suggests that in the midst of trouble there is always hope. The exhibition includes works from University of Ulster students and graduates. Second year Fine Art painting student Millie Moore’s delicate drawing and stitched piece ‘Journal’ describes a recent journey to Kiwoko Hospital, Uganda. Joanne Proctor, who graduated in 2008, is the exhibition’s artist in residence and will be completing two large scale graphite drawings over the course of the exhibition. Joanne Walker, who studies printmaking, is also exhibiting. Her mixed media piece contrasts Banbridge, where she now lives, with the Belfast estate where she grew up. The work hangs freely from the beams in the gallery, giving us a sense of movement. The exhibition also includes work by University of Ulster tutor Dougal McKenzie. His three large paintings take as their starting point the 1972 Munich Olympics and include a personal interest which offers the viewer a new perspective. The exhibition runs until the 11th February and is well worth a visit. By Brónach McGuinness
December Late Night Art Synthesis, This is Where we are… December’s late night art proved to keep the great name of the Belfast Art scene proud, showcasing an array of unique talents in both curation and in the Visual Arts. Platform Arts group Show Synthesis did not fail to disappoint. Showing works by nineteen different artists, the exhibition was an eclectic mix of styles with works ranging from photography, to sculptural installation to video to even an interactive games booth! Whatever your niche be regarding artistic endeavors, the atmosphere of the space immediately warmed your soul -The mulled wine could have had something to do with that too! The exhibition also included an abundance of student’s work, both past and present, such as the works of first year STVP student James Fennel, graduate Miguel Martin, and final year PhD student Jenny Keane, who’s triple video channel installation “Bitter Sea (After The Hunger)”, eloquently showcased her unique flair of appropriating old motion picture footage and altering the context of how the (often disturbing) imagery is portrayed, with a feminist twist. This is where we are… “A description of the state of mind of two artists caught in transition between graduation and profession. Unsure of the territory with no clear boundaries to ligate or limit them, one looks to the stars for guidance, the other to the unconscious dialogue we try to ignore. One thing is certain, their work defines who they are, and now, where they are.” Recent graduates Jayne Cherry, and Stuart Calvin* have cordoned off half of their shared studio on Queen Street. The aesthetic nature of the works, whilst both artists working independently on different ideologies, wholly harmonise with each other, mirror each other. Both artists work in very different ways - one being somewhat practical, the other spiritual, yet their works are each others’ counterparts. Both bodies of work have a romantic, performative, experiential element to them which again only adds to their beautiful and poetic synchronisation. The small scale of the space created a cosy home-like ambience, which allowed for a happy and relaxed audience. As an exhibition, it was truly an upmost success of which both artists should be extremely proud. Full of wine, laughs, merriment, frivolous festive cheer and most importantly good art, there was a buzz of excitement all round as Belfast proved itself as a City of Culture and fundamentally as a place of growing artistic merit. The next Late Night Art will be 2nd February, and it promises to be bigger and better than before. *Stuart Calvin is one of our Graduate Interviews this in this issue of Visual Belfast. Just go to our Interview section to find out more about him, his work, and life after Art College.
By Louise Younger
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Contemporary Applied Arts Exhibition For a week in December the second year Ceramics class teamed up with second year jewellery and silversmiths to produce an impressive showcase of talent in the foyer of the University of Ulster’s Belfast Campus. Miniature personalised doll pegs, an array of exotic feather studded rings, a huge majestic ceramic horse head displayed on a worn wooden base, disorientating visual art projection of flowers on ceramic masks, rustic pots, intricate jars, introverted sculptures and all manners of beautifully crafted pieces made the show just the right balance of ‘how inspiring!’ and I need to own this now. The show was set up by lecturers Cara Murphy and Clive Fiddis in response to the break-down of the annual Christmas fair which had been held at the Belfast Campus for nearly twenty years! The exhibition-style sale sailed off to a sophisticated start with an opening night where buyers and art enthusiasts alike were welcomed to view the work. In the following days we visited the showcase to see how the students had got on with selling work, promoting themselves and the interest that had been generated by the work on display. For most, exhibiting in a professional manner was new to them and at the beginning it seemed ridiculous that anyone would pay any attention to their work. Some had the impression that it wouldn’t be taken seriously, and people would just look at the work and not actually consider buying it. The response from passers-by were in fact, the exact opposite; with plenty of items selling on the first night! Several of the limited edition and one-off productions were snapped right up. The general message we got through talking to the students was appreciation for tutors who pushed for the event to take place, for those who helped them produce finished work to display and also, the business side of creativity - a subject that we often prefer to sweep under the rug! We were told that to be able to come to a justified price instead of just estimating the worth of the work was a real confidence booster. It is a great skill to know how to price your work, as you just don’t think about money when you create it. Students were in agreement that learning about business is not enforced enough throughout the courses, hopefully with the new professional practise module, that has just been introduced this year will help with this. Whilst we are at heart creative people, in order to turn our passion into profit we need to be business savvy. This independently set up exhibition shouts out positive outcomes for the creative person who takes control of their work from creation to displaying, to pricing to selling. We thoroughly enjoyed talking to the students involved and eyeing up some lovely pieces. I’m sure plenty of people will have been very pleased with the unique gifts they received this year. By Claire Wiggins 19
Contemporary Applied Arts Exhibition Rhiannon Ewing 20
Ben Gourley
Rebecca Killen
Agony Uncle
He is thee most amazing, super-dooper, fan-bloody-tastic Agony Uncle of all time, EVER! 22
Dear Agony Uncle, Tutors keep giving me feedback and some hefty criticism; I am not too sure what to do about it because I think it is wrong. An artist is entitled to have their own ideas, aren’t they? Ingrid K. Hi Ingrid, I have heard this same story from so many students, and they all fall into the trap that they may ‘know better’ than the tutors. You are right, an artist is entitled to his or her own ideas, but what the tutors are trying to do is make sure you understand what you are doing fully. This has happened to myself before, and it is natural to be stubborn over something so personal, but what you can do is take what they say on board. Do what they say and see if it is the right thing or not. The worst thing to happen is for it to go unnoticed and nothing done about it, because then you have instantly disregarded their advice (in your case ‘hefty criticism’). If you do feel so strongly about the criticisms you have been given, seek another tutors advice and opinion. This might reinforce what was already said and give you more of an idea what needs to be done. Whatever the circumstance, make sure you are enjoying what it is what you are doing. Agony Uncle.
It is impossible to book equipment! It is never there when I want it! Can you help me? Sarah
Dear Agony Uncle, I want to work cross discipline in different departments using a variation of techniques. I’m not too sure how to go about this? Chris.
Hi Sarah,
Dear Chris,
This can be a problem with a lot of students, especially coming into the end of a hand-in. Always have a back up plan, a lot of the time your first plan will be altered along the way, and if it is inaccessible to do that at present you can always fall back on your B-plan (for a while anyway). Make sure if you do want the equipment you try to book it in good time, and mention to the person who has it that if they aren’t using it if you could use it. Good luck with your project Sarah! Agony Uncle.
First you should establish what you want to do, whether that is mixing painting and printmaking, ceramics and architecture etc. Once you have made up your mind, I would say to your tutor about your intentions and also the other head of department you want to work in. From then on you just have to set up a demonstration or two, and Bob’s your uncle. Some disciplines will be harder to learn than others, but if you put in the time, you will get some great results! Agony Uncle.
Dear Agony Uncle,
Dear Agony Uncle, There are so many girls around Art College, I don’t know who to chase? Help me! Anonymous To Anonymous, Don’t go to printmaking – they just keep repeating themselves. Instead go down to ceramics – they are down to earth. Agony Uncle. *If you would like to get some advise from Visual Belfast’s very own Agony Uncle please get in touch by emailing: vp.belfast@uusu.org 24
Just a thought...
If you had to give yourself advice when you were in first year, what would it be?
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ENYO BELFAST THE DIRECTORY FOR ALL PEOPLE IN THE CREATIVE INDUSTRIES IN BELFAST AND N.IRELAND.
GET INVOLVED! WHAT EXACTLY IS ENYO BELFAST AND HOW DO I GET INVOLVED? ENYO IS AN ONLINE DIRECTORY OF ALL THE CREATIVE PEOPLE THAT ARE IN NORTHERN IRELAND. IF YOU WISH TO BE A PART OF THIS EXCITING NEW IDEA SIMPLY EMAIL: he l l o @ e nyo b e l f a s t . co m AND LET US KNOW WHO YOU ARE AND WHAT YOU DO. LOOKING FORWARD TO HEARING FROM YOU!