Showcase Newsletter Winter '08
Content
Open College of the Arts
SHOWCASE
Autumn 2008
H
ave the OCA resorted to images of young women with big eyelashes to get your attention? Possibly, but only to spark a debate. This is an image from a fashion shoot. In an effort to sell clothes the photographer has deliberately placed the model in a run down doorway adjacent to an image of Jesus by the streetart collective Faile. A set of conscious choices, designed to make the image 'work' in particular ways. What is your response? Have your say at oca-uk.com
If you are interested in the theories underlying an understanding of visual culture then you might like to look at our new course: Visual Studies or develop your photographic practice with the People and Place course and gain an understanding of particular challenges of portraying human subjects and their environment, or branch out into Creative Digital Film. More details of these new courses on page 3
Inside
Short story competition
Full details of how to enter
Meet two of our Workshops programme 4 successful writing Extra support for students up to students 4 & 5 August 2009 8
Showcase Who’s who at the OCA
is published three times a year by the Open College of the Arts. Open College of the Arts The Michael Young Arts Centre, Unit 1B, Redbrook Business Park Wilthorpe Road, Barnsley S75 1JN Telephone: 01226 730495 Email: [email protected] Web: www.oca-uk.com
Registered charity no: 327446 Company limited by guarantee no: 2125674
The staff at the Open College of the Arts are keen to support you and as a student you will no doubt talk to many of us at one time or another. Over the next few issues we'll be profiling members of staff, starting with our two newest team members:
Moz Khokhar
Emma Mason
OCA welcomes contributions to Showcase but reserves the right to edit materials at its discretion. Views and opinions expressed in Showcase are not necessarily those of OCA, nor does the inclusion of an item, insert or advertisement constitute a recommendation. To amend your contact details or just to give your feedback – please contact Dee Bean, Marketing and Events, on 01226 704364 or email [email protected] Copy dates for 2009 Submit articles by: 10 January Publication date: 1 March Submit articles by: 10 May Publication date: 1 July
Moz has a degree in Art and Design Since joining the college at the from the University of Leeds and a beginning of August Emma has PGCE from Huddersfield. He joined breathed new life into the academic the OCA as an Academic Co-ordinator services team with her vivacious in August; having previously worked personality and sharp wit. Emma for the YMCA. Moz is previously worked a practising potter in for the RSPCA. She both traditional and moved to OCA to contemporary styles further her career and regularly exhibits and strengthen in local galleries. He her administration channels his creativity and clerical skills. into his work at OCA Emma is 23 and updating and editing loves the colour the images in the pink and animals, course materials. Moz Moz Khokhar though not Emma Mason just couldn’t be persuaded to necessarily at the enjoys playing cricket, have her picture taken cycling and running. same time.
Graduate Celebrations
A year after Bucks New University began its partnership with the OCA there were celebrations all round as the first group of OCA students attended their graduation ceremony at the Wycombe Swan theatre. Peter Slater, Executive Dean, Faculty of Creativity and Culture at Bucks said: “We are particularly pleased to welcome the first cohort of graduates from the Open College of the Arts. This is a nationally based partnership which has greatly expanded the range of part-time and mature students now working with us”. OCA Chair of Trustees Chris Jelley and Chief Executive Gareth Dent joined the
From the left: Marion Symes, Cedric Smith, Gareth Dent (Chief Exec), Marie Kelliher, Kay Bannon, Chris Jelley (Chair of Trustees).
students and their families to celebrate their successes.
2
Lights, camera, action... reflection?
T
he OCA is pleased to announce three new level one courses which we are adding to our portfolio this winter.
People and Place is an addition to our highly popular photography courses and will make it possible, for students seeking to progress towards a degree, to gain all the necessary credits through specialising in photography. Written by Michael Freeman, the course is suitable for anyone with an interest wishing to develop their photographic practice and gain an understanding of particular challenges of portraying human subjects and their environment. The module will allow students to explore the meanings of portraiture and landscape photography and the nature of genre. They will develop their understanding of the relationships between subject, photographer and how their environment influences these relationships. Creative Digital Film is for anyone who has an interest in exploring the creative techniques used in producing moving image media. Students will be expected to produce short films, so must have the ability to record and edit digital video. The course is concerned with developing an awareness of creative techniques and exploring artistic approaches. It provides a structured introduction to a range of visual and narrative devices used to create mood, atmosphere and an intended meaning within a moving image sequence. Students will be encouraged to view media critically, to identify the techniques that are employed and how they affect the audience and the course will enable students to employ these techniques effectively in their own work.
The course has been written by Reuben Irving who will also tutor the first cohort of students. Interest in the course is expected to be high but since the course is a new area of study for the OCA student numbers will initially be limited. Visual Studies is probably the most radical new addition to our portfolio. Written by Peter Haveland the course will be relevant to anyone with an interest in the theories underlying an understanding of visual culture. As such it will make an exciting and challenging addition to the programme of studies for students in fine art, photography and history of art. The course preferences the practical application of those theories over a spectatorial approach and will provide a sound introduction to the subject in a truly interdisciplinary fashion. To this end it will provide: • an understanding of the parameters of visual studies • an introduction to the major themes that underpin the discipline • experience in the application of theory to live projects. Students will be introduced to and guided to a clear understanding of the key texts in the study of visual culture. The course will also trial the use of blogging as a means to creating a personal learning log. To be notified when these courses open for enrolment please email [email protected]
3
Short story competition for OCA students
First Prize: £50 Amazon voucher and publication in the March 2009 issue of Showcase. The competition is free and open to all students, regardless of country of residence and course studied. Entries will be judged by OCA tutor Nina Milton. Entry requirements: A short story on the theme of ‘Kitchen Table’. You can use this theme in any way that creates maximum inspiration – by including it as an object in the story, or by taking advantage of the atmosphere and emotions the phrase conjures up, or simply include the two words somewhere in your text. You can have any title for your story. Word limit: maximum 1000 Your entry must be typed or wordprocessed. It can be emailed [include ‘short story’ in subject line] or posted as hard copy. Please mark for the attention of Dee Bean. Please include name, student number, address, email address, phone number and story title on a separate page. Closing date for entries: 10 January 2009
OCA will not enter into any correspondence about the competition, including the rules, selections, formats, receipt of submissions or results. OCA cannot provide any feedback on individual entries.
John Haines a second degree immature teen?
“I have been amazed by Writing Poetry as it is extremely accessible but demanding. The analysis that you do of your own poetry can’t fail to encourage you to develop your writing. You look at it in such depth and breadth. If you are a developing poet (however many years you have been writing) then here’s the road for you. “Here is a poem I have developed on the course. My tutor felt quite pleased with it, so, of course, I fully agree.” John Haines has been an OCA student since December 2007. He writes, “I have just completed OCA’s Writing 1: Poetry as the first step to a second degree. “I always thought those who went for second degrees must be slightly mad. I had no intention of further academic study after my OU degree. I’m in my sixties and ‘taking it easy!’ I have written poetry since school days but only in recent years began to study it. The OU literature courses were obviously thorough in introducing me to many poets I didn’t know and to much literary (often conflicting) theory. “In 2007 I began to think about developing my own poetry. I ‘tasted’ workshops, readings, read a couple of books. Then I discovered that the OCA did practical poetry courses.
A lonely Pompeii As an immature teen I was too introverted to fully appreciate the ruins of Pompeii. Yet, I took in the fallen Columns; their whiteness hard and soft in the grass. There was a swift whiteness, always swift then. Time, ancient and new, ribboned in lonely squiffiness.
4
Marianne Lederman
published author
I have always had a love of books and literature of all kinds, as well as a fervent imagination. As a child I lived much of the time in a dream, telling myself stories and developing imaginary characters who were more real to me than the people around me. However, I never wrote these stories down as I had too little confidence or belief in my abilities. It wasn’t until about fifteen years ago, after a career of thirty years, that for no reason that I can recall or define I started to write. It was then that I decided to look at possible ways to improve my amateurish efforts and the Open College of the Arts proved to be ideal. I started with a course in short story writing, and then moved on to the Advanced Writers’ course. For people like myself, working in a busy job and with a family and limited time to write, the OCA provides flexibility combined with high quality one-to-one tuition. Understanding tutors were prepared to wait until my home and work commitments allowed me to complete an assignment. Formal assessment wasn’t what I wanted, so I decided to repeat the Advanced Writers’ course three times! With each course I honed my writing skills a little further, benefiting from the different approach of each tutor. Elizabeth Ashworth, Elizabeth North and especially Linda Acaster, provided me with encouragement, constructive criticism and a mature mentoring approach, where I could discuss and explain what I was attempting to write, and receive in return advice and suggestions. hough his recent enthusiasm for life was reassuring Evelyn knew it was unwise to be smug or complacent. She would often remind Douglas Thanks to the OCA I received my reward. I finally won the Greater London prize in the national Undiscovered Authors competition for 2006/7 under the pen name, Naomi Nielsen, and my novel, Euan’s Torch is due to be published in Spring 2009. (Publishing, I have found, is a slow process). The following extract is from an early chapter and shows the tense relationship between the teenage Euan and his parents Evelyn and Douglas.
T
and drained his mug of tea, innocent and oblivious to her thoughts. He was maturing and would soon be going out with girls and maybe even having sex – youngsters of his age were these days. But she had no wish to pry and in any case it was his nature to be remote and introverted; she doubted if he would ever confide in her. ‘Let him live in a world of his own’, she urged Douglas when he complained of Euan’s secretiveness. ‘He doesn’t want us knowing everything he’s thinking and doing.’ His periodic phases of unhappiness, she hoped – she was sure – were over, but even so it would be wise not to interfere. If he felt burdened by intrusive questions he might withdraw again, lapse into his old moodiness. The conversation ended. As he said goodnight to her he ruffled her hair and she felt herself grinning and blushing like a girl. When he had disappeared she pushed aside the hair on her forehead. She also pushed aside the worries that buzzed around her head like angry mosquitoes.
5
of the dangers of pressurising him. ‘You don’t know what might happen, Doug. Both our families have had some knocks. Never mind if he fails exams; we should be content if he’s healthy.’ And Douglas, who was usually impatient with her homilies, on this occasion agreed. She pressed herself against the kitchen worktop to give Euan space to finish his sandwich and drink his tea. While most boys in their teens were still coping with adolescent growing pains – too fat, too thin or too spotty – he was maturing with ease. Just to watch him gave her pleasure. He leaned back to eat, his sweater rucked up over the waistband of his jeans which were now too tight for him, and she was suddenly conscious that his hips and crotch were sexually provocative. Swallowing hard, she snapped her eyes upwards and fixed her gaze on his face. He finished his last mouthful
Painting with fibres
Tutor Jacqueline Jeynes
Jacqueline Jeynes has been a tutor with OCA for 20 years, for both the Understanding Art and Textiles courses. She writes: “Since I was a little girl spending all my pocket money on bundles of fabric to ‘make things’, I have been fascinated by textiles. There is a long family tradition of textiles design and craft including tailoring, dressmaking, fine art and three-dimensional design and I am whole-heartedly committed to learning new skills and trying out new techniques. “Painting with fibres is how I see my current textile work. There is a resurgence of interest in the traditional craft of felt making with earliest examples of the technique dating back to 700BC. Felt has always been valued for its durability, warmth and protective qualities so given the poor return farmers now get for their fleece, it is an ideal way to use this natural product. “I really love making the individual seamless jacket designs. Starting from the basic idea of the shape and size of the jacket, I make a template that takes into account shrinkage of the type of fleece used. “I need to think about the design features at this stage – how the collar and revers will be shaped, what pattern is needed on the inside of the jacket especially around the collar and cuffs. Fibres are set out in two even layers to form the basic structure, overlapping the edge of the template to ensure the joins between front and back are seamless, then adding a third layer to make the decorative outer surface. “I love this part of the process. I just follow the design as it develops organically, seeing how blocks of colour interact, – an instinctive process that is difficult to plan in pre-design drawings. The most exciting aspect of this part is introducing other fibres or materials. Sometimes I use fine silk fibres with a soft sheen when worked, or exciting man-made fibres in contrasting colours and with unusual tactile qualities. “I have been experimenting with the peg loom – a traditional craft re-invented around 20 years ago in this form. It is a simple loom structure and is an ideal way to use up all the yarns and fibres collected over many years. There is scope to vary the length of lines, fibres used as warp threads, and to incorporate a wide range of other materials. “Future design work includes creating different types of structures by combining fleece fibres with paper pulp, using heatbonded Angelina fibres, and various fibres in silk paper. There is still a fascinating journey to travel in my exploration of textile art and design, and I cannot ever see that I shall reach the end of my travels!” Jacqueline is a member of International Feltmakers Association; Ceredigion Craft Makers; Spinners, Weavers and Dyers Guild. Her book Painting with fibres – Felted seamless jackets and wall hangings is due to be published early 2009. To contact Jacqueline or learn more about felt making go to www.oca-uk.com
6
From Furniture to Fine Art
The OCA's accrediting university, Bucks New University is one of the newest in the UK, having been granted full university status in October 2007. The ‘new’ in its name, reflects the University’s vibrancy and dynamism and its aim to always be open to new ideas and thinking. But, its history dates back to 1893 and the foundation of the School of Science and Art in High Wycombe. After the First World War, the school began to give special tuition to disabled ex-soldiers and sailors. They were trained in a range of traditional skills including cabinet making, carving and polishing, to help them find work in local factories. By 1920, daytime classes in woodwork had been introduced – the first in the country. Following the defeat of Hitler in 1945, there was an even greater need for technical education for returning servicemen, and the then Technical Institute expanded into a College of Further Education. The University now offers a range of exciting and innovative awards not widely available in the sector, from commercial pilot training to music industry management, textiles and furniture. Its faculties are aligned to employment markets: creative and cultural industries; the management and information management sectors; and the public sector. Furniture courses are still an important feature in the portfolio. Courses are designed to give students a broad range of skills associated with the small specialised furniture-making workshops which are the mainstay of the British furniture industry today. The University is unashamedly teaching-led and businessfacing, and so furniture students, like those in other disciplines, are given a sound understanding of professional practices, and the opportunity to undertake ‘live’ projects in conjunction with industry partners, including Ercol, Homebase, Isokon, John Lewis, Matthew Hilton Furniture, SCP, and Vitra. The University prides itself on being the best in the country for producing concept and ideas-led, but functional furniture, which can immediately be taken up by British and European manufacturers. Annual shows and involvement with the Milan Furniture Fair have established its courses at the forefront of this type of success – over 25 designs have been put into production with European manufacturers as a direct result of showing third year and graduate work in Milan. Its courses are continuing to develop with a new foundation degree in Furniture: Development and Industries starting in September, and specifically designed to prepare students for roles in production management, design and retail positions. For further information visit bucks.ac.uk, email [email protected] or call 0800 0565 660.
7
OCA Workshops
Thanks to the commitment of many of our tutors, OCA has been able to increase the number of workshops it offers throughout the year. OCA workshops are the perfect vehicle for trying new directions, learning new skills and honing old ones. Classes are small and relaxed and offer exceptional quality additional tuition. Students from Scotland to Dorset have been enjoying meeting other students, viewing each other’s work and spending quality learning time with OCA tutors. Tutors Jane Mitchell (Edinburgh) and Carolyne Kardia (Dorset) have been welcoming small groups of students into their studios; combining workshops with the opportunity to view their respective creative environments. In Shropshire, Geoff Taylor has been leading photography students through the beautiful Carding Mill Valley. These multi-day workshops have expanded on Geoff’s highly popular ‘classroom’ based workshops and now include practical field work and review sessions. At our Barnsley HQ a ‘Basic Framing’ workshop took place in September covering all aspects of framing from mount cutting through to stringing the work so it was ready to hang. Student Jean Tarry told us, “This was my first experience of an OCA workshop. I was surprised at what I could produce: tutor, materials, tools, venue etc were all first class and I thoroughly enjoyed myself.” Stephen Court’s ‘Figuring it out!’ workshop was a massive hit with all the attendees. Angela Mullins said “It was my first OCA workshop experience and I can thoroughly recommend it to anyone considering going to one in the future. I was made to feel very welcome, the atmosphere was highly enthusiastic and I was encouraged to think about and explore new things. The model was fantastic too!” The current workshop programme will continue until August 2009. For more information go to: www.oca-uk.com/events or call Dee on 01226 704364.
Date 29/11/08 06/12/08 31/01/09 07/02/09 7-8/03/09 07/03/09 04/04/09 05/04/09 18/04/09 2-3/05/09 02/05/09 09/05/09 09/05/09 30/05/09 06/06/09 13/06/09 27/06/09 04/07/09 11/07/09
Students on the Basic Framing workshop show off their achievements
Workshop Growing Art Ideas Working with Rhyme Still Life: a bold approach Figuring it out Working in Clay from the Model Monotype + Techniques Celebration of Colour Poetry: Visual and Aural Exploring Form with Plaster Growing Art Ideas Drawing and Painting a Still Life Working in the Landscape Sketching in the Landscape Notes on Touch, Taste and Smell Sketchbook Work in the Landscape
Location Barnsley Stafford Barnsley Barnsley Broadwindsor, Dorset Barnsley Broadwindsor, Dorset Stafford Broadwindsor, Dorset Barnsley Edinburgh Edinburgh Sheffield Stafford Edinburgh
Painting with a broad brush: Landscapes in acrylics Barnsley
Creating Abstract Compositions from Organic Forms Sheffield
Creating Abstract Compositions from Natural Forms Barnsley Drawing at Thorpe Bay and Hadleigh Castle Ruins Leigh-on-Sea Drawing at Kew Gardens Looking at Sketchbooks Kew Gardens, London V & A, London
12/07/09 19/07/09
SHOWCASE
Autumn 2008
H
ave the OCA resorted to images of young women with big eyelashes to get your attention? Possibly, but only to spark a debate. This is an image from a fashion shoot. In an effort to sell clothes the photographer has deliberately placed the model in a run down doorway adjacent to an image of Jesus by the streetart collective Faile. A set of conscious choices, designed to make the image 'work' in particular ways. What is your response? Have your say at oca-uk.com
If you are interested in the theories underlying an understanding of visual culture then you might like to look at our new course: Visual Studies or develop your photographic practice with the People and Place course and gain an understanding of particular challenges of portraying human subjects and their environment, or branch out into Creative Digital Film. More details of these new courses on page 3
Inside
Short story competition
Full details of how to enter
Meet two of our Workshops programme 4 successful writing Extra support for students up to students 4 & 5 August 2009 8
Showcase Who’s who at the OCA
is published three times a year by the Open College of the Arts. Open College of the Arts The Michael Young Arts Centre, Unit 1B, Redbrook Business Park Wilthorpe Road, Barnsley S75 1JN Telephone: 01226 730495 Email: [email protected] Web: www.oca-uk.com
Registered charity no: 327446 Company limited by guarantee no: 2125674
The staff at the Open College of the Arts are keen to support you and as a student you will no doubt talk to many of us at one time or another. Over the next few issues we'll be profiling members of staff, starting with our two newest team members:
Moz Khokhar
Emma Mason
OCA welcomes contributions to Showcase but reserves the right to edit materials at its discretion. Views and opinions expressed in Showcase are not necessarily those of OCA, nor does the inclusion of an item, insert or advertisement constitute a recommendation. To amend your contact details or just to give your feedback – please contact Dee Bean, Marketing and Events, on 01226 704364 or email [email protected] Copy dates for 2009 Submit articles by: 10 January Publication date: 1 March Submit articles by: 10 May Publication date: 1 July
Moz has a degree in Art and Design Since joining the college at the from the University of Leeds and a beginning of August Emma has PGCE from Huddersfield. He joined breathed new life into the academic the OCA as an Academic Co-ordinator services team with her vivacious in August; having previously worked personality and sharp wit. Emma for the YMCA. Moz is previously worked a practising potter in for the RSPCA. She both traditional and moved to OCA to contemporary styles further her career and regularly exhibits and strengthen in local galleries. He her administration channels his creativity and clerical skills. into his work at OCA Emma is 23 and updating and editing loves the colour the images in the pink and animals, course materials. Moz Moz Khokhar though not Emma Mason just couldn’t be persuaded to necessarily at the enjoys playing cricket, have her picture taken cycling and running. same time.
Graduate Celebrations
A year after Bucks New University began its partnership with the OCA there were celebrations all round as the first group of OCA students attended their graduation ceremony at the Wycombe Swan theatre. Peter Slater, Executive Dean, Faculty of Creativity and Culture at Bucks said: “We are particularly pleased to welcome the first cohort of graduates from the Open College of the Arts. This is a nationally based partnership which has greatly expanded the range of part-time and mature students now working with us”. OCA Chair of Trustees Chris Jelley and Chief Executive Gareth Dent joined the
From the left: Marion Symes, Cedric Smith, Gareth Dent (Chief Exec), Marie Kelliher, Kay Bannon, Chris Jelley (Chair of Trustees).
students and their families to celebrate their successes.
2
Lights, camera, action... reflection?
T
he OCA is pleased to announce three new level one courses which we are adding to our portfolio this winter.
People and Place is an addition to our highly popular photography courses and will make it possible, for students seeking to progress towards a degree, to gain all the necessary credits through specialising in photography. Written by Michael Freeman, the course is suitable for anyone with an interest wishing to develop their photographic practice and gain an understanding of particular challenges of portraying human subjects and their environment. The module will allow students to explore the meanings of portraiture and landscape photography and the nature of genre. They will develop their understanding of the relationships between subject, photographer and how their environment influences these relationships. Creative Digital Film is for anyone who has an interest in exploring the creative techniques used in producing moving image media. Students will be expected to produce short films, so must have the ability to record and edit digital video. The course is concerned with developing an awareness of creative techniques and exploring artistic approaches. It provides a structured introduction to a range of visual and narrative devices used to create mood, atmosphere and an intended meaning within a moving image sequence. Students will be encouraged to view media critically, to identify the techniques that are employed and how they affect the audience and the course will enable students to employ these techniques effectively in their own work.
The course has been written by Reuben Irving who will also tutor the first cohort of students. Interest in the course is expected to be high but since the course is a new area of study for the OCA student numbers will initially be limited. Visual Studies is probably the most radical new addition to our portfolio. Written by Peter Haveland the course will be relevant to anyone with an interest in the theories underlying an understanding of visual culture. As such it will make an exciting and challenging addition to the programme of studies for students in fine art, photography and history of art. The course preferences the practical application of those theories over a spectatorial approach and will provide a sound introduction to the subject in a truly interdisciplinary fashion. To this end it will provide: • an understanding of the parameters of visual studies • an introduction to the major themes that underpin the discipline • experience in the application of theory to live projects. Students will be introduced to and guided to a clear understanding of the key texts in the study of visual culture. The course will also trial the use of blogging as a means to creating a personal learning log. To be notified when these courses open for enrolment please email [email protected]
3
Short story competition for OCA students
First Prize: £50 Amazon voucher and publication in the March 2009 issue of Showcase. The competition is free and open to all students, regardless of country of residence and course studied. Entries will be judged by OCA tutor Nina Milton. Entry requirements: A short story on the theme of ‘Kitchen Table’. You can use this theme in any way that creates maximum inspiration – by including it as an object in the story, or by taking advantage of the atmosphere and emotions the phrase conjures up, or simply include the two words somewhere in your text. You can have any title for your story. Word limit: maximum 1000 Your entry must be typed or wordprocessed. It can be emailed [include ‘short story’ in subject line] or posted as hard copy. Please mark for the attention of Dee Bean. Please include name, student number, address, email address, phone number and story title on a separate page. Closing date for entries: 10 January 2009
OCA will not enter into any correspondence about the competition, including the rules, selections, formats, receipt of submissions or results. OCA cannot provide any feedback on individual entries.
John Haines a second degree immature teen?
“I have been amazed by Writing Poetry as it is extremely accessible but demanding. The analysis that you do of your own poetry can’t fail to encourage you to develop your writing. You look at it in such depth and breadth. If you are a developing poet (however many years you have been writing) then here’s the road for you. “Here is a poem I have developed on the course. My tutor felt quite pleased with it, so, of course, I fully agree.” John Haines has been an OCA student since December 2007. He writes, “I have just completed OCA’s Writing 1: Poetry as the first step to a second degree. “I always thought those who went for second degrees must be slightly mad. I had no intention of further academic study after my OU degree. I’m in my sixties and ‘taking it easy!’ I have written poetry since school days but only in recent years began to study it. The OU literature courses were obviously thorough in introducing me to many poets I didn’t know and to much literary (often conflicting) theory. “In 2007 I began to think about developing my own poetry. I ‘tasted’ workshops, readings, read a couple of books. Then I discovered that the OCA did practical poetry courses.
A lonely Pompeii As an immature teen I was too introverted to fully appreciate the ruins of Pompeii. Yet, I took in the fallen Columns; their whiteness hard and soft in the grass. There was a swift whiteness, always swift then. Time, ancient and new, ribboned in lonely squiffiness.
4
Marianne Lederman
published author
I have always had a love of books and literature of all kinds, as well as a fervent imagination. As a child I lived much of the time in a dream, telling myself stories and developing imaginary characters who were more real to me than the people around me. However, I never wrote these stories down as I had too little confidence or belief in my abilities. It wasn’t until about fifteen years ago, after a career of thirty years, that for no reason that I can recall or define I started to write. It was then that I decided to look at possible ways to improve my amateurish efforts and the Open College of the Arts proved to be ideal. I started with a course in short story writing, and then moved on to the Advanced Writers’ course. For people like myself, working in a busy job and with a family and limited time to write, the OCA provides flexibility combined with high quality one-to-one tuition. Understanding tutors were prepared to wait until my home and work commitments allowed me to complete an assignment. Formal assessment wasn’t what I wanted, so I decided to repeat the Advanced Writers’ course three times! With each course I honed my writing skills a little further, benefiting from the different approach of each tutor. Elizabeth Ashworth, Elizabeth North and especially Linda Acaster, provided me with encouragement, constructive criticism and a mature mentoring approach, where I could discuss and explain what I was attempting to write, and receive in return advice and suggestions. hough his recent enthusiasm for life was reassuring Evelyn knew it was unwise to be smug or complacent. She would often remind Douglas Thanks to the OCA I received my reward. I finally won the Greater London prize in the national Undiscovered Authors competition for 2006/7 under the pen name, Naomi Nielsen, and my novel, Euan’s Torch is due to be published in Spring 2009. (Publishing, I have found, is a slow process). The following extract is from an early chapter and shows the tense relationship between the teenage Euan and his parents Evelyn and Douglas.
T
and drained his mug of tea, innocent and oblivious to her thoughts. He was maturing and would soon be going out with girls and maybe even having sex – youngsters of his age were these days. But she had no wish to pry and in any case it was his nature to be remote and introverted; she doubted if he would ever confide in her. ‘Let him live in a world of his own’, she urged Douglas when he complained of Euan’s secretiveness. ‘He doesn’t want us knowing everything he’s thinking and doing.’ His periodic phases of unhappiness, she hoped – she was sure – were over, but even so it would be wise not to interfere. If he felt burdened by intrusive questions he might withdraw again, lapse into his old moodiness. The conversation ended. As he said goodnight to her he ruffled her hair and she felt herself grinning and blushing like a girl. When he had disappeared she pushed aside the hair on her forehead. She also pushed aside the worries that buzzed around her head like angry mosquitoes.
5
of the dangers of pressurising him. ‘You don’t know what might happen, Doug. Both our families have had some knocks. Never mind if he fails exams; we should be content if he’s healthy.’ And Douglas, who was usually impatient with her homilies, on this occasion agreed. She pressed herself against the kitchen worktop to give Euan space to finish his sandwich and drink his tea. While most boys in their teens were still coping with adolescent growing pains – too fat, too thin or too spotty – he was maturing with ease. Just to watch him gave her pleasure. He leaned back to eat, his sweater rucked up over the waistband of his jeans which were now too tight for him, and she was suddenly conscious that his hips and crotch were sexually provocative. Swallowing hard, she snapped her eyes upwards and fixed her gaze on his face. He finished his last mouthful
Painting with fibres
Tutor Jacqueline Jeynes
Jacqueline Jeynes has been a tutor with OCA for 20 years, for both the Understanding Art and Textiles courses. She writes: “Since I was a little girl spending all my pocket money on bundles of fabric to ‘make things’, I have been fascinated by textiles. There is a long family tradition of textiles design and craft including tailoring, dressmaking, fine art and three-dimensional design and I am whole-heartedly committed to learning new skills and trying out new techniques. “Painting with fibres is how I see my current textile work. There is a resurgence of interest in the traditional craft of felt making with earliest examples of the technique dating back to 700BC. Felt has always been valued for its durability, warmth and protective qualities so given the poor return farmers now get for their fleece, it is an ideal way to use this natural product. “I really love making the individual seamless jacket designs. Starting from the basic idea of the shape and size of the jacket, I make a template that takes into account shrinkage of the type of fleece used. “I need to think about the design features at this stage – how the collar and revers will be shaped, what pattern is needed on the inside of the jacket especially around the collar and cuffs. Fibres are set out in two even layers to form the basic structure, overlapping the edge of the template to ensure the joins between front and back are seamless, then adding a third layer to make the decorative outer surface. “I love this part of the process. I just follow the design as it develops organically, seeing how blocks of colour interact, – an instinctive process that is difficult to plan in pre-design drawings. The most exciting aspect of this part is introducing other fibres or materials. Sometimes I use fine silk fibres with a soft sheen when worked, or exciting man-made fibres in contrasting colours and with unusual tactile qualities. “I have been experimenting with the peg loom – a traditional craft re-invented around 20 years ago in this form. It is a simple loom structure and is an ideal way to use up all the yarns and fibres collected over many years. There is scope to vary the length of lines, fibres used as warp threads, and to incorporate a wide range of other materials. “Future design work includes creating different types of structures by combining fleece fibres with paper pulp, using heatbonded Angelina fibres, and various fibres in silk paper. There is still a fascinating journey to travel in my exploration of textile art and design, and I cannot ever see that I shall reach the end of my travels!” Jacqueline is a member of International Feltmakers Association; Ceredigion Craft Makers; Spinners, Weavers and Dyers Guild. Her book Painting with fibres – Felted seamless jackets and wall hangings is due to be published early 2009. To contact Jacqueline or learn more about felt making go to www.oca-uk.com
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From Furniture to Fine Art
The OCA's accrediting university, Bucks New University is one of the newest in the UK, having been granted full university status in October 2007. The ‘new’ in its name, reflects the University’s vibrancy and dynamism and its aim to always be open to new ideas and thinking. But, its history dates back to 1893 and the foundation of the School of Science and Art in High Wycombe. After the First World War, the school began to give special tuition to disabled ex-soldiers and sailors. They were trained in a range of traditional skills including cabinet making, carving and polishing, to help them find work in local factories. By 1920, daytime classes in woodwork had been introduced – the first in the country. Following the defeat of Hitler in 1945, there was an even greater need for technical education for returning servicemen, and the then Technical Institute expanded into a College of Further Education. The University now offers a range of exciting and innovative awards not widely available in the sector, from commercial pilot training to music industry management, textiles and furniture. Its faculties are aligned to employment markets: creative and cultural industries; the management and information management sectors; and the public sector. Furniture courses are still an important feature in the portfolio. Courses are designed to give students a broad range of skills associated with the small specialised furniture-making workshops which are the mainstay of the British furniture industry today. The University is unashamedly teaching-led and businessfacing, and so furniture students, like those in other disciplines, are given a sound understanding of professional practices, and the opportunity to undertake ‘live’ projects in conjunction with industry partners, including Ercol, Homebase, Isokon, John Lewis, Matthew Hilton Furniture, SCP, and Vitra. The University prides itself on being the best in the country for producing concept and ideas-led, but functional furniture, which can immediately be taken up by British and European manufacturers. Annual shows and involvement with the Milan Furniture Fair have established its courses at the forefront of this type of success – over 25 designs have been put into production with European manufacturers as a direct result of showing third year and graduate work in Milan. Its courses are continuing to develop with a new foundation degree in Furniture: Development and Industries starting in September, and specifically designed to prepare students for roles in production management, design and retail positions. For further information visit bucks.ac.uk, email [email protected] or call 0800 0565 660.
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OCA Workshops
Thanks to the commitment of many of our tutors, OCA has been able to increase the number of workshops it offers throughout the year. OCA workshops are the perfect vehicle for trying new directions, learning new skills and honing old ones. Classes are small and relaxed and offer exceptional quality additional tuition. Students from Scotland to Dorset have been enjoying meeting other students, viewing each other’s work and spending quality learning time with OCA tutors. Tutors Jane Mitchell (Edinburgh) and Carolyne Kardia (Dorset) have been welcoming small groups of students into their studios; combining workshops with the opportunity to view their respective creative environments. In Shropshire, Geoff Taylor has been leading photography students through the beautiful Carding Mill Valley. These multi-day workshops have expanded on Geoff’s highly popular ‘classroom’ based workshops and now include practical field work and review sessions. At our Barnsley HQ a ‘Basic Framing’ workshop took place in September covering all aspects of framing from mount cutting through to stringing the work so it was ready to hang. Student Jean Tarry told us, “This was my first experience of an OCA workshop. I was surprised at what I could produce: tutor, materials, tools, venue etc were all first class and I thoroughly enjoyed myself.” Stephen Court’s ‘Figuring it out!’ workshop was a massive hit with all the attendees. Angela Mullins said “It was my first OCA workshop experience and I can thoroughly recommend it to anyone considering going to one in the future. I was made to feel very welcome, the atmosphere was highly enthusiastic and I was encouraged to think about and explore new things. The model was fantastic too!” The current workshop programme will continue until August 2009. For more information go to: www.oca-uk.com/events or call Dee on 01226 704364.
Date 29/11/08 06/12/08 31/01/09 07/02/09 7-8/03/09 07/03/09 04/04/09 05/04/09 18/04/09 2-3/05/09 02/05/09 09/05/09 09/05/09 30/05/09 06/06/09 13/06/09 27/06/09 04/07/09 11/07/09
Students on the Basic Framing workshop show off their achievements
Workshop Growing Art Ideas Working with Rhyme Still Life: a bold approach Figuring it out Working in Clay from the Model Monotype + Techniques Celebration of Colour Poetry: Visual and Aural Exploring Form with Plaster Growing Art Ideas Drawing and Painting a Still Life Working in the Landscape Sketching in the Landscape Notes on Touch, Taste and Smell Sketchbook Work in the Landscape
Location Barnsley Stafford Barnsley Barnsley Broadwindsor, Dorset Barnsley Broadwindsor, Dorset Stafford Broadwindsor, Dorset Barnsley Edinburgh Edinburgh Sheffield Stafford Edinburgh
Painting with a broad brush: Landscapes in acrylics Barnsley
Creating Abstract Compositions from Organic Forms Sheffield
Creating Abstract Compositions from Natural Forms Barnsley Drawing at Thorpe Bay and Hadleigh Castle Ruins Leigh-on-Sea Drawing at Kew Gardens Looking at Sketchbooks Kew Gardens, London V & A, London
12/07/09 19/07/09
