MA Visual Arts graduate Laura Luna Castillo, in collaboration with West Dean alumnus, Jonathan Turner-Bishop (Making / Conservation of Clocks), have been selected for a fully-funded, ten-week Kamiyama Artist Residency in Japan (KAIR 2018). Laura and Jonathan’s unique collaboration began during the 2017 Open House event at West Dean, in which they took over a room in the historic house (formerly Edward James’ bedroom) with an installation of motion sensor-activated sonic sculptures. Continue reading
West Dean College is pleased to welcome Katie Schwab as its new Artist-in-Residence. Selected as part of last autumn’s Open Call, Katie will be spending three-weeks based in the Visual Arts department, working in close proximity to full-time students. Over the next few weeks Katie will give a talk about her practice and ongoing residency project to staff, students and alumni, as well as conducting one-to-one tutorials. Continue reading
Friday 26 January 2018, 11am-6pm
Reflecting the resurgence of craft and skills-based making in art over the past decade, this one-day symposium explores common ground between contemporary art and studio ceramics. Emphasising the commonalities between artist and craftsperson, the event focuses on practical, theoretical, and professional aspects of working with clay, embodied in its malleability and resistance – its plasticity.
Recent Artist-in-Residence, Christine Mills, whose Tinkering with Strings project saw her developing new work in response to time spent in the workshops of the Making of Stringed Musical Instruments department at West Dean College, is currently exhibiting the latest phase of the research-driven work in New York City. Continue reading
West Dean College Alumni, Sarah Cliff (MFA) has recently been appointed Artist-in-Residence 2018 at Ochre Print Studio in Guildford. The residency will provide her with access to a fully equipped print studio, workshops and studio space, three-monthly critiques, two exhibitions, a blog and talk, in return for help in coordinating exhibitions and technician responsibilities. Continue reading
Florence Peake’s RITE is a layered reinterpretation of a monument in Modernism’s history: Igor Stravinsky’s The Rite of Spring, composed in 1913 for Sergei Diaghilev’s Ballets Russes. Choreographed by Vaslav Nijinsky, the original performance is notorious for the riot it provoked on the first night, when theatregoers apoplectic with anger had to be forcibly removed. Peake’s take, though, has little to do with those mythological beginnings. Instead, it taps into The Rite of Spring’s vital force, lending it a renewed sense of urgency. Continue reading