Change the world

Painting

The discipline of traditional painting has been expanded to include many of the Mixed Media and processes as pioneered in the mid and late 20th century. This means that the style and approach of Corbet is as much at home here as are those of Duchamp, Raushenberg, Mariol, Warhol, Newman, and Cornell. No single style or form is dictated in approach or concept. The process, form, content, concept, design, and execution follow on from these sound traditionalunderpinnings.Experimentation and play form a key element of this approach to painting.

The course commences in a more traditional vein as students are equipped with the technical skills necessary to master at least one of three painting media – oil/alkyd/acrylic; water colour or tempera. This includes the making and preparation of appropriate supports and grounds.

In order to develop formally, that is to understand the grammar of art-making in general and painting in particular, an in-depth study of colour, tone, line and texture is expected. Studio projects are set in such a way that they stimulate the understanding and application of this grammar. Each project also requires the investigation of relevant historical models.

At a third-year level, students are expected to motivate and with guidance, design their own direction, taking into account their degree of technical and formal proficiency. It is at this level that the student may choose to work across disciplines and with any medium or set of media – this may extend to include video and digital imaging.

To facilitate this, a statement of intent must be produced, one which plots an individually oriented course in terms of technique, form, subject matter and content. It is also required that a study be made of those critically/historically acknowledged artists whose genres/styles/ approaches bear similarities.

The overall aim here is to promote responsibility and stimulate an intelligent, lateral exploration of visual and written data. The process of formulating the statement should also clarify the link between thinking and form and between perception and conception. It is hoped that by putting together a personal strategy based on research, the student will be encouraged to develop self-motivation – a prerequisite for functioning as a professional artist; and, should the student wish to continue on the academic path, the means to do so successfully.

The painting course offers students the opportunity to develop their own sense of working process, enabling thinking through making. This process develops the students’ ability to identify their own concept, techniques and methodology and thus manifest their individual practice based research. This is intended to develop the ability in each student to have experience in their specific areas of interest and thus having a means to shape appropriate concept from form, form for concept and be able to work further after graduating.

An interdisciplinary ethos allows students to have access to the expertise and equipment in other studios.

Students are in contact with their course tutors daily and with tutors from other disciplines by appointment or through the feedback forum, thus giving students an opportunity to have a wider more diverse response to their work.

Plight of the hollow carrot

I am concerned about being shaped by the way the world has been shaped.

I am concerned about my sense of isolation and disconnection that comes from the way I have been shaped by the world.

My practice has become a space through which I am able to work and think together with people.

This practice somehow shapes my sense of potential as a human being.

My practice has helped me realise some of my research questions:

How do we develop a wider personal and philosophical framework that cultivates a deep sense of personal and shared meanings?

How can we begin to realise our full potential as human beings and work as transformers of the materialist thought systems that shape our world?

How do we grow a culture of transforming our mode of consciousness?

James Reed
Painting Lecturer