<![CDATA[THE ARTIST & ACADEMIC - LECTURES / WRITING]]>Sat, 28 Feb 2026 05:35:14 -0800Weebly<![CDATA[(Terraced) House of McQueen]]>Wed, 04 Dec 2024 08:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/terraced-house-of-mcqueenWe are not individuals - but parts of other things. Part of a family, a friendship, a situation, an event. We are all shaped by our experiences, influenced by the people who cross our paths and inspired by our surroundings.
As artists, that influence and inspiration is presented outwardly to the world. Often commercialised, with a price attached to it. And sometimes commoditised; it’s worn, used, labelled, stored away, celebrated for a hot second and forgotten about when the next commodity is purchased.
While many may disagree, in terms of appreciation, Art can be separated from the artist. It is possible to admire McQueen’s Fashion House without ever having known about McQueen’s Terraced House. But that doesn’t wipe clean the artist from the artwork. Artworks are saturated with the context and history in which it was created. 
]]><![CDATA[Inclusivity and Isolation]]>Mon, 15 May 2023 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/inclusivity-and-isolation
[Senior School Assembly]

On this day, the 15th May in 1967, US painter, Edward Hopper died at the age of 82.
Born in New York in 1882 Hopper made solitude his life’s work. Unusually for an artist, his history is not fraught with exceptional drama or tragedy, however very typically for an artist he did suffer with depression through much of his life. Unable to find work early in his career, his painting languished. He wrote, "it's hard for me to decide what I want to paint. I go for months without finding it sometimes. It comes slowly." ​​
His peer Walter Tittle described Hopper's depressed emotional state in sharper terms, describing his friend as "suffering...from long periods of unconquerable inertia, sitting for days at a time before his easel in helpless unhappiness, unable to raise a hand to break the spell." 

In the 1920s, Hopper began painting the scenes that were to make him one of the most recognisable painters in modern history. While F Scott Fitzgerald was chronicling the party animals of the jazz age, Hopper painted the figures who looked as if they hadn’t been invited to the party. With his deserted cityscapes and isolated figures, Hopper captured the loneliness and alienation of modern life. Modern life was unfriendly in the extreme for Hopper. But it was the recent pandemic that gave his work a new foreboding significance.

During Covid, many in the Art World said that we were existing inside an Edward Hopper painting. We were coldly distanced from each other, sitting at our lonely windows overlooking eerily empty streets. But if we really were or even still are living in Edward Hopper’s paintings, a crisis of loneliness is impending that may be one of the most fraught social consequences of Covid-19.

Rather than any of Hopper’s more contented scenes, it was Hopper’s horrors that were being shared and discussed throughout the lockdowns– and horrors isn’t too strong a word. One of the painter’s biggest fans was Alfred Hitchcock, who famously based the Bates mansion in the film Psycho on a Hopper painting of a strange old house isolated by a railroad.
We all hope to defy Hopper’s terrifying vision of alienated, lonely individuals and instead strive to thrive as a community. But, ironically, during Covid we had to protect our community by staying apart. 

His figures appear as isolated among others in a diner or restaurant as they are at their apartment windows by themselves. In this, his work is typical of Modernist art. Edvard Munch had already shown in his nightmarish Evening on Karl Johan Street, that a crowd can be a very isolating place to be.

In a post-pandemic world, we should be more aware of the damaging effects of isolation, there is afterall a reason why it is used as a severe punishment in prisons and even schools around the world. And while we can all be grateful to be in an institution and society that doesn’t inflict solitary restrictions lightly, the feeling of isolation is much more prevalent than you might expect. 

As I’m talking, just have a moment of self-reflection. In what ways do you ever feel isolated but also, how do you isolate others- even unintentionally? Achieving true inclusion takes more than an assembly about isolation or a PSE session about being kind to your peers. The applications and definitions of inclusion are vast. It is about creating freedom from the fear and anxiety of discrimination and isolation. Inclusion is when each and every person is able to feel like they belong and that they are accepted for who they are. When people feel included they are better able to contribute to the group without fear of being ostracised. By bringing their ideas forward, they are offering a particular perspective, which stems from a completely different background. This makes space for further inclusivity and creates a cycle of growth and acceptance.

Inclusion also goes further than a poster that says: “your differences are appreciated”. And as I state that it takes more than words, words are actually a good place to start. 

The use of a common language is one of the easiest ways we can ensure everyone in our community is included and understood. We can avoid misunderstandings, poor conduct and even the paranoia that can be caused by not being included in a conversation. 

Say hello, hold the door open, smile back, make room on the corridor for others to pass through- basically empathise and think of others. This holds true for all members of our community, but also out into the wider world too. Regardless of age, job title, appearances etc. by upholding our basic manners and pleasantries we’re showing every person that we respect them and are therefore including them.

I’ve no doubt you’ve all seen this acronym before, but how often do you actually “THINK” before you post on social media. The same can be applied before you speak too. Is what you’re about to say or post True? Is it Helpful? It is Inspiring? Is it Necessary? Is it Kind? If it’s not, don’t post it. 

As a basic need, our environment must feel safe for everyone. And while this includes the physical facilities (for example working together to make sure spaces like bathrooms and stairwells are just as safe as classrooms and offices) … it also means building a culture in which diversity is celebrated. We show compassion and open-mindedness. We’re all very different, we have different views and beliefs and whilst we can’t always agree on everything, we must be tolerant and accepting of differences.

Of course, all of this must be the effort and actions of the many, but the many is made up of individuals. It is up to us, as individuals, to self reflect. Again, In what ways do you ever feel isolated? And do you ever isolate others? If you have moments of feeling isolated, reach out. If you see others actively going against our ideals of inclusivity, reach out. Talk to your peers, your tutors, your teachers. Nobody should feel isolated. 

On this, Edward Hopper’s deathday, let’s remember his paintings for what they mean to us now. Let’s apply them to our context. Let’s immerse ourselves into the landscape and place our feet into the shoes of those who occupy them. Empathise with others and be inclusive. 
]]><![CDATA[Academic Enrichment: the impact of an exceptional program]]>Wed, 18 Jan 2023 22:55:02 GMThttps://www.theartistandacademic.com/lectures--writing/how-learning-beyond-the-classroom-doesnt-have-to-mean-learning-outside-of-the-classroom
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[article for ANZA Singapore, 18-01-23]

When hearing the word ‘enrichment’ in a school context, most picture students taking part in sport, the arts and the myriad other extracurricular activities that are on offer in the best institutions. Enrichment is often perceived as something that happens outside of the classroom. However, this perception can have two damaging effects on school life. First, it can relegate sport and the arts to mere co-curricular activities that are there to give students an escape from their studies. They become add-ons, rather than academic disciplines in their own right, which they absolutely should be. Second, it can lead to a culture in which academic learning is confined to the classroom, and to timetabled lessons, which it absolutely should not be.
It is important to consider how schools enrich their students academically, providing the opportunity and encouragement to explore their interests beyond the classroom. This means creating provisions that are beyond anything found in the taught curriculum, not simply extending what is taught in the classroom. The benefits of such experiences are vital for students’ authentic discovery of their own academic passions.
More sophisticated and independent learning opportunities
What does academic enrichment look like in schools? When done well, the provisions aren’t necessarily extra-curricular; they are part of the school day. Lectures, seminars, accredited online courses and public speaking opportunities create a mature learning experience more often found in universities. If students leave a session with more questions than they arrived with, the level of challenge was probably pitched at the perfect level to inspire curiosity. Intellectual curiosity, which comes so naturally to younger children, often fades as they get older and focus their minds on textbooks and exams. Academic enrichment allows us to reignite it, and foster independent thought in a way that rote learning never could.
Learning beyond the curriculum
By offering students the option to study content beyond the curriculum, academic interests are discovered and encouraged. This is excellent preparation for university course selection and application preparation. Sometimes this learning can be applied to real world situations through service or action research, but very often the topic is selected simply because it fascinates the specialist delivering the session. Teachers demonstrating their own authentic subject passion is highly influential on students’ learning and engagement.
Low stakes lead to high returns
Learning experiences without exams, assessments or even written outcomes, remove anxiety and encourage more risk-taking in the classroom. Students find their voices in a safe academic setting, increasing esteem which is in turn transferred to their curriculum-based learning. Increased proficiency in collaboration, articulate conversation and public speaking are clearly evident in those participating in academic enrichment activities. 
Improved attainment
In studying beyond the taught curriculum, students obtain a greater comprehension of the context of what is being learnt. Through the gained communication skills, students have the tools to more actively participate in their learning. Ultimately, academic enrichment fosters an authentic love of learning which goes hand in hand with greater academic success.
At NLCS (Singapore) our academic enrichment programme provides a vast range of scholarly experiences, clubs, and societies for all students. Through both teacher and student-led programs, students turn areas of interest into genuine areas of expertise. 
]]><![CDATA[Human Rights, Article 27 : Is Art a want, rather than a need?]]>Wed, 07 Dec 2022 08:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/human-rights-article-27-is-art-a-want-rather-than-a-needDuring what is Human Rights week this week, I was inspired to take the opportunity of delivering a McCabe as a chance to develop my own knowledge and understanding of the relationship between Human Rights and Art. And there nestled between Education (article 26) and social order (article 28) sits the arts (within article 27).
I was purposefully explicit in noting where this article can be found within the declaration- between education and social order. Because I initially found this to be jarring. Education and social order are so fundamental and found within the material realm along with shelter, food and other practical necessities- vital for survival. Whereas Art, Art surely belongs in a more intangible world as something much more transcendental. How could something so metaphysical be relevant to our basic rights as humans? 
So, is access to art a privilege rather than a right? A want, not a need? 
It's safe to assume that many would consider Art to be subservient to many of the other rights, like education and social order. And I have often seen the judgemental glint in the eyes of those who ask what I teach, when I reply with - Art. My role as Art Educator is probably seen as a paradox in itself... 
]]><![CDATA[Assuming Excellence [Journal Think Piece]]]>Fri, 01 Jul 2022 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/assuming-excellence[written for Collegiate, NLCS International Teaching, Learning and CPD Journal, Issue 2, July 2022]

My favourite pedagogical reads are those uncomplicated papers or books that give words to simple thoughts. On reading Richard Gervers’s Education- A Manifesto for Change, it was the phrases ‘assumed excellence’ and ‘assumed incompetence,’ that created a linear model in my mind on which I immediately started to plot my own practice. In the classroom, when we offer support or frameworks to all students as opposed to those identified as needing them, we are assuming an incompetence. When challenging all students to complete the task without the frameworks, then target the support as students need it, we are assuming excellence. As a school that has a guiding statement to offer our students ‘floors, not ceilings’, this reflection is not only relevant but crucial in our awareness of stretch and challenge in the classroom. So, what about the implied assumptions made in our Professional Development provision? Surely our teachers not only deserve this differentiated approach but also the assumed belief that they are highly capable educators and subject specialists.​
When initiatives are introduced, which the whole school is expected to buy in to and many if not all staff receive the same training, we are assuming incompetence- or at the very least that everyone requires the same level of training, support or focus. It often implies that everyone should be teaching in a certain way or using a particular strategy, taking away the trust that we place in our teachers as autonomous professionals and subject practitioners. 
​
In the same way that our differentiated teaching approach relies almost entirely on knowing our students, the delivery of professional development must start with knowing our teachers. Through the lens of assumed excellence, a culture is established that leans more towards empowerment than micro-management. Academic monitoring (observations, learning walks, work scrutiny, student voice etc.) feels developmental and progressive, without breeding fear or insecurity. Line manager meetings are valued, focusing on keeping staff on track and establishing a feedback dialogue in which practices are reflected upon honestly with a drive to refine and develop. It is through the analysis of academic monitoring and the communication between line managers that trends are identified and in response, specific professional development can be put in place for individuals, groups or the wider teaching body. Knowing our teachers, also means we know where the excellent practice is. What better way to provide contextually relevant professional development than to share the outstanding practices that are already occurring in our school? 

And just like the classroom setting, when things aren’t on the right track despite targeted support or there are concerns regarding performance and practice, a more micro-managed approach might absolutely be necessary. Which of course, is entirely appropriate…when needed. 

Looking back to our students, the academic enrichment opportunities we provide ignite curiosity, encourage personal passions and push students out of their comfort zones to participate in academic activities beyond their expectations. For our teachers, professional development provisions can be built from the same intentions; to ignite curiosity, encourage personal passions and extend experiences and practices beyond what they thought possible from a place of assumed excellence.

Gerver, R. 2019. Education : A Manifesto for Change. London: Bloomsbury Education.
]]><![CDATA[A Conversation about Womens' Bodies in Painting, with Lavinia Harrington]]>Sat, 18 Jun 2022 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/a-conversation-about-womens-bodies-in-painting-with-lavinia-harrington'An Italian-British artist, Lavinia Harrington is presently completing her MFA in Painting at the Slade School of Fine Art in London. She graduated from Oxford University with a degree in the History of Art in 2008, and two years later gained her MA degree at the Courtauld Institute of Art. She has fifteen years of experience working in arts education; delivering public talks for the National Gallery in London and teaching in museums, galleries and schools across the United Kingdom and Italy.'
www.stephenongpin.com/artist/247611/lavinia-harrington (18.06.22) 

The chair of Her Art Society (Solaia, G10), organised a webinar with Harrington in which students were guided through "A Conversation about Womens' Bodies in Painting." The session was incredibly enlightening and the enthusiasm in the room was palpable. 
]]><![CDATA["You are missing the point" - why Rothko's paintings can't and shouldn't be analysed...]]>Sun, 26 Sep 2021 11:38:10 GMThttps://www.theartistandacademic.com/lectures--writing/you-are-missing-the-point-why-rothkos-paintings-cant-and-shouldnt-be-analysedI saw the Seagram Murals by Mark Rothko for the first time in the summer of the year 2000 when I was 17 (Don’t try to do the maths!) I could recognise a Rothko but that was all I knew of his work- what it looked like. As I entered the Rothko room with my classmates, we did the usual slow gallery walk around the room. I sat down on the bench and my classmates plodded out, leaving me on my own. I stared at one of the dark red paintings until I’d lost track of all time. And then completely unexpectedly I burst into tears. Full on ugly crying ...
]]><![CDATA[Change Expectations...]]>Mon, 14 Jun 2021 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/change-expectations"Beware of artists. They mix with all classes of society and are therefore most dangerous"
- Queen Victoria
​It's true, we are a dangerous type. However, I don't think our danger lies solely in our ability to mix with all sorts, but rather our ability to manipulate many. Artists are trusted far more than we should be. For example, take the work of Erwin Wurm. He set up plinths in galleries with an illustrated instruction suggesting that visitors should hold a pose with completely random objects for 1 minute at a time. Calling these works 1 Minute Sculptures, he note only change the expectation of what a sculpture should be he changed the expectations and role of the viewer. Not only from passive to participant, but from observer to being the artwork itself. Contemplating this idea of changing expectations all Senior School Art Students spent a week creating their own 1 Minute Sculptures for this Arts Festival exhibition. Now, coming back to the Queen Victoria quote and how artists are dangerous, ​while all of the SS Art students listened intently to a curator wax lyrical about Wurm's work, and then spent a lesson responding to and replicating his poses, there was one feature about Wurm's work that I might have failed to mention. And that was his interest in manipulating people. Using the power of his position as an artist and the power of the institution as a museum, he manipulated people to perform utterly ridiculous tasks mainly just to see if he could. So, here I am. Using my position as an Art Teacher and the power of the institution as a school, to manipulate you... the students, to make you perform utterly ridiculous tasks mainly just to see if I could. And without question or concern from a single soul, this happened...
]]><![CDATA[World Art Day 2021 Assembly- "Pay Attention"]]>Thu, 15 Apr 2021 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/ethical-implications-of-using-human-biomatter-as-an-artisitic-medium-how-do-they-get-away-with-it"...listening to Hockney I too have always known that I look at the world. I see things and I notice. In between photos of interesting cracks in the pavement, or a really big leaf, my phone is full of photographs of the fourth floor corridor around 7am. At that time, the sun hits the windows on the east and the light spills in through the windows of the classroom doors. And the warmth of that orange light is so beautiful, that a photograph never does it justice and I'll probably continue to be amazed by it every time I turn the corner. And a lot of you, are exactly the same! You see things, you notice. When Solaia in Grade 9 asks me to take a photograph of the soggy bit of paper she's been using to wipe her paintbrush on... that's her seeing something beautiful in the world. And when Rohan in Grade 8, spends the majority of the lesson adding paint to water droplets and watching it disperse and disappear, and grow into blobs, instead of doing the painting like I asked him to and then proceeding to giggle when he knows that I've noticed and still continues to watch the paint disperse in the water droplets... that's him seeing something beautiful in the world. And when Emil in Grade 7 notices that all of the objects that his teammates have collected for their group installation are all associated with childhood and that actually the temporary nature of their artwork could actually reflect the transient nature of their own childhood's... that's him seeing something incredibly beautiful in the world. So on World Art Day, pay attention. You don't have to change the world, for now just pay attention. Look at the light, look at the people, the buildings, look at nature and see something beautiful in the world. 
]]><![CDATA[The "Her Art" Society]]>Fri, 26 Feb 2021 08:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/the-her-art-societyWritten by Solaia Suherman, Grade 9, for the Buss Brief Newsletter

The Her Art society is an exploration of the lives, stylistic choices, beliefs, values, and concepts of the great female artists of yesterday and today — through which we can use their art as a window to learn, discover, and grow. 
“I’ve always wanted to learn more about women artists, often finding myself pondering upon the questions --
Why does Yayoi Kusama paint polka dots? What was Meret Oppenheim trying to say when she covered a teacup in a Chinese gazelle’s fur? How did Frida Kahlo weave symbolism into her work? What was the place of female artists in society: past and present?
Through this society, we discuss and even answer questions like these. To embark on an exploration of female artists and their ideas will not only lend us the reflection of the world, but also the discovery of our own place in it.
Ultimately, great art is a reflection of humanity. It captures its time and evokes their values. It grants us an understanding of the ever-changing world in which we’re surrounded by. 
Appreciating art isn’t merely a matter of aesthetic — it is the unveiling of the underlying message conveyed through it.  
So, I hope that others, as well as myself, can hold on to these words whilst we embark on this exploration of female artists. After all, art always goes back to humanity.”
During the Chinese New Year break, the Her Art society set out on a visit to OTA Fine Arts, (Gilman Barracks), to view an exhibition by the sensational Yayoi Kusama. The artist showcased 15 of her monochrome paintings from her My Eternal Soul series (2019-2020), as well as CLOUDS (2019), a sculpture installation of mirror-finished stainless-steel forms. Given that we have been learning about Kusama, her life, and her work, the exhibition was a perfect opportunity to see some of what we have been discussing in the flesh. Indeed, we had a great amount of fun talking, looking, pondering, and learning during the visit. Kusama’s work evoked beauty in pattern and repetition that inspired us all — truly, a memorable afternoon spent. 
]]><![CDATA[Human Bio-matter as an Artistic Medium- How do artists get away with it?]]>Fri, 19 Feb 2021 08:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/human-bio-matter-as-an-artistic-medium-how-do-artists-get-away-with-itUrine, feaces, tears, blood, hair, skin– the human body has been used not merely as the subject of art works, but also as the substance. The way this has occurred has been diverse in terms of appearance and art-making practices, encompassing casting and sculptural processes, drawing, painting and photography. As diverse as they are, the artworks we’ll explore today have one thing in common: they are all considered to be examples of what we term “biomaterial” artworks. 
Human bodily materials are invested with highly symbolic cultural association and complex emotional entanglements, so the use of human biomatter as an art medium opens up an intriguing opportunity to reflect upon the relationships between materiality, aesthetics and most interestingly, ethics. How do artists get away with it?
]]><![CDATA[A very different DP exhibition...]]>Sun, 05 Apr 2020 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/year-13-exhibition-2020The Year 13s should have held their end of course Visual Arts exhibition over the last two weeks. Of course, we have had to cancel the show and the students have felt a real sense of anti-climax as their IB Art journey is now over.
 
So, here is a different kind of exhibition for us to reflect on their Visual Arts journey and give Year 13 the sense of achievement and celebration that they so deserve!! The video is only a 1:45 snapshot, but it means a lot to them to know that they have been seen and heard! 
]]><![CDATA[Zero Waste; Art meets Science]]>Wed, 29 May 2019 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/zero-waste-art-meets-science
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​On hearing about the “Zero Waste” focus of this year’s Founders Day, the Year 9 students spent this term researching, investigating and creating bio-degradable sculptures with a scientific twist. The students were presented with a live design brief- to create a sculptural outcome that informs or raises awareness about one of the UN Sustainability goals that correspond to our new Dulwich Sustainability Goals. Faced with a number of constraints, everyone quickly became enthused and focused. To ensure the sculptures were structurally sound, aesthetically striking and supported by sound theory, the project was completed during both Art and Science lessons. Working in teams, students assigned themselves into roles of responsibility to not only complete the task, but to excel.
Kris, one of the group leaders was very proud and impressed by the effort and focus of his group. “Because issues regarding our world such as global warming and endangered animals have become so significant, I believe raising awareness to the public is definitely needed and doing this through making our own inventions and creating them with decomposable material was an amazing proposal. Being the group leader was not easy, but it was enjoyable. After we decided our roles, everyone started with real confidence and commitment.”
Juna, another group leader added, “Thanks to the Art and Science project we were able to learn very useful life skills such as much need collaboration. Due to having two large groups and the effort required to complete the task, everyone had to invest our energy and thought into making the project successful. I felt that the team led itself, rather than me being the sole conductor. It was my first time leading a group of such numbers, but thanks to everyone’s efforts I felt in control and relaxed.”
The outcomes more than met the brief and Bea was clearly impressed with the level of knowledge and innovation demonstrated throughout the project. 
]]><![CDATA[Meeting Robert Kondo]]>Wed, 01 May 2019 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/meeting-robert-kondo​Our animators of the future had the privilege of meeting ‘Tonko House’ animator, Robert Kondo on Monday. During his visit, a lucky group of Senior School artists were involved in a fascinating and inspiring ‘question and answer’ session. The ex-Pixar artist spoke of his impressive portfolio working on films such as Monsters University and Ratatouille, as well his Academy Award nominated film with ‘Tonko House,’ The Dam Keeper. Our students gained valuable insight into the processes and demands of working as an animation artist and were undoubtedly inspired by his creative journey.
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]]><![CDATA[Art @ The Olympiad, London]]>Mon, 15 Apr 2019 01:53:27 GMThttps://www.theartistandacademic.com/lectures--writing/art-the-olympiad-london
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​Jet lag gave way to excitement, fun and creativity for our six travelling artists last month at the 400 Year Olympiad hosted by Dulwich College London. After an exhausting journey to the UK, our artists (along with the rest of the DCSL team), dived straight into the very best of London’s Art and Cultural scene with a tour starting at the National Gallery, heading through Southbank and ending at the Tate Modern. On arriving at Dulwich College London, the artists were amazed by the impressive architecture of the college itself. They were quickly put to work during an “Art Hijack,” in which fortune cookies revealed a hidden drawing task to complete on a postcard. These then became part of a large installation displayed in one of the historic halls. The majority of the artists’ time was spent in their workshops in which they worked alongside professional artists including puppet maker, Sian Kidd and ceramicist, Sarah Christie. A personal highlight for me, was meeting and learning from silversmith, Sari Rathel. The conceptual nature of her pieces combined with absolute mastery, is so inspiring. Possibly the most impressive qualities demonstrated by our artists during this time wasn’t necessarily their creative competence or innovation, but their confidence, humour and compassion. All six students fully embraced every opportunity to work with adults and other students that they had only just met, clearly having a great time in the process. We even managed to squeeze in another trip to Southbank to visit the Hayward Gallery and spend time with the art students from DCB. One student in particular demonstrated enormous amounts of courage and composure, when she took to the stage at the closing ceremony. Speaking in both Korean and English, Suan bravely made a speech about her Art experiences in front of the other colleges in the spectacular Great Hall.  The trip was a truly memorable experience that I’m sure has impacted our creative and international perspectives.
Thank you and well done, to our six international artists!
]]><![CDATA[UK to Korea with Perry-style Plates]]>Wed, 24 Oct 2018 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/uk-to-korea-with-perry-style-plates​At the weekend, a group of Art students had a fun filled day working with children at the Global Youth Fair event, “UK to Korea”. We were inundated by children wanting to take part in our UK inspired craft activity. Looking at the work of UK artist Grayson Perry, children used a coil method to skilfully create small plates using coloured clay. They selected a typically British image as a template (from a Queen’s Guard to a teacup) and filled the shapes with rolled clay before moulding it into the form of a plate. Everybody thoroughly enjoyed the activity and we were never without a queue- another typically British pastime! Thank you to our wonderful student ambassadors Karlie, Julie, Paul, Grace and Alix for your enthusiasm, patience and professionalism. 
]]><![CDATA[Finding the Starting Point with NUA]]>Wed, 17 Oct 2018 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/finding-the-starting-point-with-nua​Last Thursday, our Year 12 Visual Artists were lead in a montage workshop by artist and lecturer Sarah Horton. Sarah is the Subject Leader for MA Fine Art and the Senior Lecturer, BA (Hons) Fine Art at Norwich University of the Arts. The purpose of the practical workshop was to encourage a sense of lateral thinking around a starting point- creating without intention with the possibility that the resulting imagery might inspire further investigation. As the students intently worked on their postcard collages, Sarah talked to us about the university application process and what to expect when studying Visual Arts in the UK. To offer context to both the practical workshop and the university guidance, Sarah introduced us to the work of numerous successful designers, artists and practitioners within the Visual Arts who worked in similar styles to our stripy collages. The year 12 artists learned a great deal about how they might extend their art studies into further education and beyond. 
]]><![CDATA[“Build a Language, not a Style” -  Damian Siqueiros]]>Wed, 12 Sep 2018 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/build-a-language-not-a-style-damian-siqueiros
​Last week, our IB Visual Artists had the absolute privilege of working with renowned photographer, Damian Siqueiros as part of the Dulwich Diversity events. The knowledge and experience the students (and myself) gained over the two days was invaluable. From concept and design, through to make-up and direction, the students truly experienced an authentic and inspiring insight into photography as a vocation. Working from a Fine Art background, Siqueiros encouraged the students to read images and engage in a visual language. Whilst the learning and process was clearly the focus of the two days, we cannot help but be amazed and proud of the outcomes produced by the students. Working from the initial starting point of ecology and sustainability, the students grappled with the dilemma of representing an abstract idea through movement and colour. The photographs shown have had only minimal editing to adjust composition and remove visible lighting equipment. The atmosphere and intention in the work has been created entirely through lighting, the direction from the students and of course the talent of our dancers. Special thanks to our very own Jean Jang and visiting dancer Rosemarie Lee, for their patience and exceptional professionalism whilst performing and interpreting the students’ concepts. An unforgettable two days that has certainly added significant depth and insight to the IB Visual Arts portfolios. 
]]><![CDATA[Disney Animator, Aaron Blaise]]>Wed, 28 Mar 2018 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/disney-animator-aaron-blaise
​Students have been left in awe and amazement after Disney Animator, Aaron Blaise visited DCSL this week. Gasps were heard throughout the theatre as students realised he had created so many of their favourite characters. From Nala in the Lion King to Raja in Aladdin, it was incredible to see the process from concept to the final feature. Through lectures and workshops, Aaron has undoubtedly inspired many youngsters with his incredible and humbling story. The “Persistence of Vision” is a film-making term referring to the illusion of movement through still images. Aaron used this phrase as his overarching theme for the sessions he delivered, encouraging students to remain focused on their goals, even when faced with obstacles. Students were captivated and moved as he spoke about the highs and lows of his extraordinary life. Year 7 were introduced to animation methods that depict the effect of gravity and soon realised that “everything in animation is the bouncing ball.” Whilst IB Art and Drama students were fortunate enough to work alongside Aaron during a pen and ink workshop. A truly inspirational day for all of our young artists.  
]]><![CDATA[Forgiveness Museum, Steyl]]>Wed, 22 Nov 2017 08:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/forgiveness
​Our talented students in Year 8 have certainly impressed this term as they produced work in response to a live brief provided by the Forgiveness Museum in Steyl, The Netherlands. The museum exhibits all kinds of pieces on the subject of forgiveness and reconciliation. It is also the only museum in the world that is focused on these theme's. Right now, their exhibition is especially focused on youth to encourage us to think about what forgiveness is and what it means in a world full of conflict and oppression.
We researched people who embodied or inspired forgiveness, and used our newly honed portraiture skills and mono-printing techniques to capture their likenesses. To emphasize our concepts further, we used transfer techniques to include quotes that encapsulate our message.
All year 8 students produced an outcome and twelve pieces were selected by the Year 13 IB Visual Arts students. Eric commented that he was “flabbergasted by the almost abstract nature of the layered portraits.” Whilst Yeonwoo was inspired by the students’ “impressive and sophisticated compositions.” It was the “imaginative and bold use of colour” that captured the attention of Felipe.
Congratulations to the following students, whose work will be exhibited at the Forgiveness Museum until February 2018. 
]]><![CDATA[Dulwich College Shanghai student awarded scholarship and shortlisted for Saatchi Prize]]>Thu, 06 Jul 2017 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/dulwich-college-shanghai-student-awarded-scholarship-and-shortlisted-for-saatchi-prize
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"How lucky I am, that in my twelve years in this profession, I have spent four of them teaching Sebastian." says Shelley Swain, Head of Art and Graphic Design at Dulwich College Shanghai. She is talking about Year 13 student, Sebastian, who has not only been awarded a scholarship to the Rhode Island School of Design, but has just been shortlisted for the Saatchi Gallery Art Prize. The Saatchi Art Prize is a very prestigious art competition that attracts thousands of entries every year. From the 24,000 entries, just 20 artists were shortlisted, including our very own Sebastian.

Shelley continues, "His photograph entitled The Last Lesson, is a satirical remake of Da Vinci's The Last Supper and captures who Sebastian is as an artist and observer of the world. As a draftsman his drawings are exceptional, however, over the last two years Sebastian has often turned his back on his traditional fine art talents to pursue much riskier and challenging methods and pathways. Highly competent in both digital and hand-made media, his outcomes always offer an intelligent and often witty narrative. This is also a reflection of Sebastian's character. An unassuming student, it is easy to mistake his calm and reflective nature for shyness. However, upon engaging in conversations about his work, it is clear that he has a lot of confidence and charisma."

The exhibition of the 20 shortlisted works will take place 4th-13th July 2017 at the Saatchi Gallery, London. The winner and runner up prizes will be announced on the 4th July at an awards evening.

We offer Sebastian our warmest congratulations in all that he has achieved so far, and the very best of luck in his future endeavours!

Original Article
]]><![CDATA["Creativity" article for The Shanghai Daily]]>Wed, 26 Oct 2016 07:00:00 GMThttps://www.theartistandacademic.com/lectures--writing/creativity-article-for-the-shanghai-daily“Creativity” article for The Shanghai Daily
 
We live in an ever increasingly visual and digital world. I believe passionately that a quality Art education is vital for young people to not only understand the world they’re viewing but to develop their own visual language in order to interact with it successfully.
 
A creative environment (be it a classroom or at home) should be a safe space for children to take risks and have their voices not only heard but encouraged. It is through positivity, reassurance and humour, that a positive climate can be created.
 
All skills develop over time and require practice. The more enjoyable we can make a creative session, the more likely a child will want to repeat the process. As a child gets older, it is motivation and resilience that will keep them practicing. Therefore, it is important that children know why they are doing something. “If we keep practicing gradual tonal change and accurate recording, soon you’ll be able to create a portait and then we can learn how to create expression!”
 
It is sometimes difficult to motivate children to be creative when they do not appear to show any interest in the Arts and would rather place their energy elsewhere (sports, academics etc). This is when it is most important to share the purpose of what we’re doing and find links to their existing interests. For a child who is very mathematical, creativity can come from rhythmic pattern based work including tessellations, rotations and repetitions. A child who is fascinated by science and dreams of being a surgeon can be persuaded into visual arts when highlighting the fine motor skills that are developed through paper cutting or origami; the same skills required by the best surgeons!
 
Looking at the work of others is often the most successful starting point when teaching or developing creativity. Whether its artefacts from other cultures, paintings from the 20th Century or installations from Contemporary artists, they will provide initial conversation and idea generation. This leads to the acquisition of a broad knowledge of cultures and artists as well as transferable analytical skills. Involving the work of others also provides context for the child; where do I fit into the Art World?
 
Through encouragement and purposeful direction, we can instill a love of learning and a lifelong appreciation and enthusiasm for the Creative Arts.
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