fine art programme at the university of chichester

www.chiuni.ac.uk/fineartUniversity of Chichester, artOne, Bishop Otter Campus, College Lane, Chichester, West Sussex PO19 6PE

03 Introduction

43 Studying Fine Art at

Chichester University

46 Directory of staff

46 Find out more

Degree show students

04 Anita Babey

05 Elizabeth Beamer-Rimmer

06 Amy Bettis

07 Claire Bingham

08 Dee Brien

09 Diana Brighouse

10 John Clements

11 Asherly Cooper

12 Maggie Cronk

13 Jessica Crookes

14 Nicole Cusden

15 Ian Denne

16 Harriett Dhivar

17 Harriet Dwyer

18 Roseanne Elliott

& Claire Bell

19 Rhys Ellis

20 Kim English

21 William Gray

22 Louise Green

23 Lucy Greenfield

24 Patricia Grindey

25 Lauren Harrison

26 Hannah Hopkins

27 Belinda Lawrence

28 Sophie Love

29 Brett Macpherson

30 Kathryn Madden

31 Eileen Maspero

32 Alex O'Rourke

33 Chris Raquet

34 Hazel Tremellen

35 Jade Turner

36 Chris Whittington

37 Patrick Wilkins

38 Rhoda Wilson

39 Danielle Withers

40 Joe Worthington

Contents

02 www.chiuni.ac.uk/fineart

Over time it has been the role of artists to act as criticalvoices and to challenge pre-existing forms. The challenge forart in the 21st century is to continue this vanguard positionand to act critically in creating work that operates within newand expanding frameworks of artistic achievement.

This year’s students have risen to embrace this challenge.This Fine Art degree exhibition shows the creative flair andambition of these artists. The Fine Art programme at theUniversity of Chichester continues to push at boundaries andto open new possibilities for art whilst also re-tuning existingforms in order to maintain art’s critical relevance to achanging world. The Fine Art programme continues to buildon its growing reputation for high quality work andsubstantial student achievement.

There are many objects in the degree show and theirobjective is not simply to show skill and judgement in themaking of work. Whilst this is clearly evident, the work alsoactivates and stimulates viewer responses, to raisequestions and to keep our encounter with art vital and aliveto shifting social and cultural concerns.

The work displayed reveals the breadth of resourcesavailable at the University. The diversity of material practiceand approaches reflects each individual artist’s skilful use ofmaterials and complex processes as well as their personalpassions in making art.

Their work reveals each artist’s insights into the making ofnew work at a time of swiftly changing cultural contexts andthe new, challenging fortunes of the still young 21st century.

The work in the exhibition and represented in the pages ofthis catalogue mirrors the contemporary art scene. The workresponds to the broad parameters of visual production andalso to the innovation and ambition necessary for new work.

There are figurative, narrative and formal abstract paintings;innovative sculptural construction including systemsapproaches to space and site; idiosyncratic uses of objectsand sound; textile constructions; installation work;photography; and an approach to interactive, audienceparticipation which places a new emphasis on thepossibilities of art as a community based activity, art whichmoves out into the ‘everyday’ as a form of socialengagement.

This year’s students have brought their work to the highestprofessional standards and have produced an exhibition ofreal distinction. I would like to congratulate them all on a verynotable achievement, indeed to have produced an ‘objectlesson’ in how to do it!

On behalf of the whole academic and technical staff team(and very many thanks to them also) I wish all of this year’sdegree students every success for the future in theknowledge that their experience at the University ofChichester will enable them to continue to achieve at thehighest standard.

Steve McDadeSubject Leader Fine Art

No longer just an object...The foremost measure of artistic achievement used to belongto the ‘aesthetic’ and to the values and properties ascribedto objects that conformed to forms of taste. In visual art theaesthetic dimensions include the cultural, social contextas well as those of the purely visual effects and formalqualities of the object.

03

Anita Babey There is beauty in ‘un-posed’ positions born from unawareness. My subjects are captured on camera when they are ultimatelyrelaxed and lacking self-awareness. I transfer these intimate forms of the body from photographs to paintings with the suggestivequalities of a range of liquid media. Email: [email protected] | www.anitababey-studio.co.uk


05

Elizabeth Beamer-RimmerAudio Installation: "All truly great thoughts are conceived while walking" - Friedrich Nietzsche. My work explores the intrinsic linkbetween walking and thinking. It is a dualistic experience with an unfolding dialogue and moments of synchronicity that createa sensory experience while simultaneously altering our perception of the world around us. Email: [email protected]

Amy BettisMy work explores tensions between the monotony of prescribed ‘modernity’ and the connotative suppression of arcane andprimitive psychosomatic representations. I have reworked an ancient and arcane form to express repressed concerns of thehuman condition, and to illustrate the oppression of the expression by modernity and the control of its dictates.Email: [email protected]


Claire BinghamI am interested in the feelings and emotions left behind in the waking hours after dreaming. I have developed a technique thatallows the viewer to engage with my work on a personal level, inviting them to explore their own unconscious thoughts througha process of free association. Email: [email protected] | www.ncbingham.co.uk

07

Dee BrienIn making a knitted representation of a familiar object (the chair) it assumed anthropomorphic qualities whereby the chair becamea person. I have looked at how to make an absent subject appear to be present. What is not there can be implied, not byprojection but by suggestion. Through the dressing and relationship of the 'empty' chairs groupings or families can be inferred.Email: [email protected]


Diana Brighouse My work started by making a journey to the place where I was born. It has developed to explore the physical and psychologicaljourneys that we all make. I have been influenced by the works of Annette Messager and Richard Long, and by the writings ofCarl Jung. Email: [email protected] | www.dianabrighouse.mono.net

09

John ClementsIf we look, breath, touch, smell, taste and hear; if we can still do all those things, paradise may still be there. When painting, one hasto look, be aware, join what we are already joined to. We are a part of nature and only a part. If we destroy it we destroy ourselves.Email: [email protected]


Asherly CooperCombining the use of paint, ink and machine stitch, I aim to create work that reflects the energy that has gone into its creation.I paint and draw in layers, building composition as I work image, text and colour upon one another. Allowing mistakes to bemade and rectifying them is key to how I work. Email: [email protected]

11

Margaret CronkThe boathouse at Swanbourne Lake, Arundel, stands juxtaposed in its urban quality to the rural landscape. By using intaglio-type prints, I have tried to reflect the scarred nature that the graffiti creates. The narratives behind each piece of graffiti give theboathouse a new history. Email: [email protected]


Jess Crookes My work is about exploring the relationship between photography and stitch and the combination of isolation and lost identity.The use of stitch, together with layering, repetition and photocopying, nullifies the photographic image, losing the figuresidentity, to anonymous, floating, isolated shapes. The ambiguity of the work provides a deep and engaging approach.Email: [email protected]

13

Nicole CusdenI use textiles in my work for their intrinsic relationship to the body - we wrap ourselves in fabric every day, we sleep in it - it isalmost like a constructed removable skin. I aim to evoke the human form without depicting it; through the fabric's natural creases,drapes and folds. Email: [email protected]


Ian DenneBy working in ceramics with Raku firing I have created architectural sculptures which encroach on each other. These aredisplayed using grids, blocks, texture and colour to deliver a combined sense of organic aesthetics. I have also aimed tochallenge the conflict between art and craft. Email: [email protected]

15

Harriett DhivarI have been looking at the tradition of marriage, undertaken by different cultures, in many different situations. In my work I havelooked into family history, cultural traditions, social injustices and different peoples personal experiences and struggles to getmarried. All the things I have looked at relate directly or indirectly to my own experiences. Email: [email protected]


Harriet Dwyer Using observation, description and selection, I am trying to learn to draw. I am interested in the human form and like to combinecontemporary social influences and motivation with traditional techniques. I hope that people are able to form an emotional,empathetic relationship with the figures in my drawings. Email: [email protected] | www.harrietdwyer.co.uk

17

Roseanne Elliott & Claire BellBeing in a collaborative partnership offers wide creative potential and a sense of intrigue to the working practicebehind the piece. The work is a culmination of this partnership; a bringing together of both two dimensional andthree dimensional disciplines. We intend to create a sensory experience for the viewer, something that evokesa feeling of repulsion, yet is somehow strangely beautiful. Email: [email protected]


Rhys EllisBased on my personal links to specific places and influenced by the artist Frank Auerbach, I have developed a body of workthat explores both the importance of observation and the relationship of the energetic mark making that conveys the uniquesurroundings that many interpret as home. Email: [email protected]

19

Kim EnglishUsing carefully selected photographic images I explore space and shadows through layers of print, the work is influenced byfairy tales and inspired by memories of childhood wonder and fear. Email: [email protected]


William GrayMy work explores the theme of death as an individual experience, by using light, the medium of installation art and having beeninfluenced by Barthe's theory of 'The Death of the Author' I have created accessible public art which communicates throughstereotypical semiology with an ambiguous slant. Email: [email protected] | www.williamgray.co.nr

21

Louise GreenMy work is about the act of seeing at every stage of development, the final outcome and the viewer’s perception. As GerhardRichter said “What counts is always the seeing. The physical act can’t be avoided, and certainly it is sometimes necessary topaint with the whole body,” Email: [email protected] | www.wix.com/louisegreen87/LOUISE-GREEN-ARTIST


Lucy GreenfieldI am interested in the arrangement of formal elements within a space. Drawing is used to explore the visual relationships withinthe work, colour and shape being central to this. Screen print, cut paper and drawn line are combined to create imagery that isaesthetically balanced. Email: [email protected] | www.lucygreenfield.co.nr

23

Pat GrindeyThe Hot Breath of Civilisation, Installation, mixed media. Ideas are the currency of my work rather than any specific materialpractice. This work, whilst exploring many aspects of the Climate Change debate, has focussed on the use of fossil fuels intransportation, with emphasis on power, potency and the Pleasure Principle. Email: [email protected]


Lauren Harrison This piece is a fusion of Sound, Internet, and moving image portraying the invasive and over-bearing nature of theWorld-Wide-Web. Social networking sites allow organisations to access personal information and in some cases are used tomonitor individuals. This multi-channel spectacle will leave you to question, and confront these troublesome attributes.Email: [email protected]

25

Hannah HopkinsI have always found portraits compelling. I am fascinated by the people they portray. A good portrait draws the viewer in andoffers a connection with the sitter, whether it is presenting us with mood, character or emotion, there needs to be a little glintwith which the viewer can identify. Email: [email protected] | www.hannahhopkins-portraits.co.uk


Belinda LawrenceBased on images within my local area, my paintings are a mental, physical and visual response to feelings and sensationsencountered whilst walking in the landscape. The result being an 'eclectic' portrayal of lost heritage and our cultural impact onnature and the landscape. Email: [email protected] | www.purplemagpieuk.com

27

Sophie LoveChairs have a direct reference to the human form while making few emotional demands. Found objects come ingrained with anunknown history of use, disuse and ultimately rejection. My work explores binary oppositions; construction/deconstruction,disparity between form/function and the inter-dependence of the oppositions; destruction of the original is necessary in creation.Email: [email protected]


Brett Macpherson I produce paintings in homage to the Old Masters, using modern painting techniques such as spray paint to produce my ownversions of their work. I believe the styles of the old masters should not be forgotten and I want to make them live for acontemporary audience. Email: [email protected]

29

Kathryn MaddenMy chosen material is Portland stone, my motif the human head. The technique is direct carving with a mallet and chisel. Thescale is monumental. We know our past through the fossil record trapped within the layers of stone. The human head hasalways been the perfect vessel for representing the condition of mankind. Email: [email protected]


Eileen Maspero My current body of work is autobiographical, based on childhood memories and experiences. I have been exploring identitythrough the fragile medium of raku fired tiles and these, with their sense of order, form the basis of the composition and aresymbolic of the family home. Email: [email protected] | www.decimadesigns.com

31

Alex O’RourkeArt is intrinsically linked with the audience who are to interpret it. It does not fulfil its veritable potential without the aid ofthe viewer. My work highlights this notion by means of interaction. The human presence is integral to the work’s existence.Email: [email protected]


Chris Raquet‘The Conservation of Angular Momentum’. This work is about energy, line and structure. It is about the forces which are exhortedthrough its parts and joints. It explores wood (tree) as material and our dominance yet reliance upon nature, whilst its’ structureis twisted about the space through human choice and the laws of physics. Email: [email protected]

33

Hazel TremellenMy work is an ongoing project involving a social interaction that has been influenced by the performance work of Anne Hamilton.The process of repair and renewal questions the categorisation of art and craft, alongside the old-fashioned concept of ‘Makedo and Mend’ (whereby thrift and domestic economy was encouraged). Email: [email protected]


Jade TurnerTedious, repetitive and obsessive; direct observational work using biro, stitch, screen print and etching. The kitchen’sdomestic situation offers a subject matter that changes even whilst drawing the objects. Every picture is similar but never thesame. The use of media shows the chaotic state of this living space in its hectic mess. Email: [email protected]

35

Chris WhittingtonMy work is an expression of a journey taken during a specific time frame, and through particular places. The scale of mycurrent work allows the viewer to interact and create their own journey around, and within, the space I have created.Email: [email protected] | www.decimadesigns.com


Patrick WilkinsThe work revolves around the use of ‘Ikea’ style generic object forms and materials, and the transformation, morphing, combiningand re-combining of these forms and materials. The intention of the work is to take the everyday, and through the process ofdistortion, make it recognisable, yet unfamiliar. Email: [email protected]

37

Rhoda WilsonRecording of C17th plant names.Group listens and dreams, discusses reactions and ideas, shares tasty treats.See timetable of events during Degree Show. Join a group.Be amazed at the ideas you find in your mind!Email: [email protected]


Danielle Withers19, 25, 19, 20, 5, 13 expands on a childhood game creating a monotonous system with which the artist has developed anobsessive fixation. Five stages surround the artist, starting with letters and numbers; then ending with a monochromatic pattern.I want the work to stand for the process, creation and development of art.Email: [email protected] | dwithersart.limewebs.com

39

Joe WorthingtonMy work explores human identity through the complexity of colour and its representation of social, cultural and subjectivesymbolism. The figure is paramount to my work, but remains as passive as the object on which it is painted on. The repetitionof the individual signifies the surrendering of identity to commodity. Email: [email protected] | www.iamjoy.co.uk orwww.thejoygallery.co.uk


Object lesson...

Some Fine Art degrees in the UK ask you to make choicesbased on a single discipline or subject. At the University ofChichester, we recognise that not all students wish to belabelled so early in their education, and may want to learn arange of disciplines before becoming more specialised. Builtaround this principle, our programme of study allowsstudents to specialise (i.e. textiles, sculpture, printmaking,painting or digital art) OR to move between variousdisciplines over their period of study as they develop theirown ‘hybrid’ practice (i.e. textiles and metal sculpture,painting and digital photography, printmaking and ceramicsculpture etc).

Centred firmly within leading edge contemporary art, weencourage students to become confident practitionersthrough creative experimental approaches within single-discipline OR multi-disciplinary studio work. This approachwill enable individual responses to concepts, issues andthemes that reflect contemporary professional Fine Artthrough a range of material practices such as; sculptural andvideo installation, painting, sound and performance work,site based work and textiles as well as site-based work indifferent environments.

The Fine Art BA and MA Programmes at the University ofChichester are focused on individual progress andachievement with the freedom to explore studio andworkshop practice across a broad range of skills andtechniques.

The study of Fine Art at Chichester encourages you to becreative, research driven and will provide skills for theproduction of art and associated professional skills essentialfor employment in the 21st century.

You will find support and help from the staff and techniciansto enable you to get the most out of your experience. FineArt will work for you when you meet the challenges you facewith drive, intellectual curiosity, a sense of adventure and anability to deal with the unpredictable. The staff team lookforward to helping each of you develop your skills and ideasas you become increasingly confident in your work. Fine Artis at the forefront of cultural production, trailblazing newterritories for others to follow. You will become part of thismomentum and by entering the community of artists atChichester, you will be supported and encouraged to extendyour work into new creative areas and make newdiscoveries.

The Fine Art programme is centred on the concept ofpractice as research. This can be seen as a bringingtogether of all aspects of art knowledge, skills and criticalunderstanding to the investigation of materials, experimentalapproaches to processes and to the construction of newresponses to the making of art. Practice as research makesthe fundamental connection between theory and practicethat forges new links and relationships between materialsand representations to create new insights to the sociopolitical context in which we live. Fine Art is exciting anddeeply rewarding. It will take you deeper into the subject thatyou already have a passion for, so be prepared to take somerisks and to challenge assumptions. And remember also,that whatever you make has never existed before!

BA and MA Fine Art, inclusive specialist and/or multidisciplinarycourses offering each student a range of skills, disciplines andaspirations appropriate for contemporary artists of the 21st Century.

Fine art at theUniversity of Chichester

43

Main studio activitiesAt present our main studio activities are:

• Painting: Oil, acrylic, drawing, construction, mixed media.• Textiles: Constructed textiles, feltmaking, embroidery,

papermaking, printed textiles, mixed media, installation,• Sculpture: Wood, metal, casting, plaster, ceramics, found

materials, mixed media, installation,• Printmaking: etching, screenprint, relief print, monoprint

and combined media.• Digital Art: digital photography, video, sound, net.art,

animation, installation.

Methods of studyIn level 1, students will initially be set a series of researchand drawing based activities that will drive the students’ideas towards a self-directed practice, greaterindependence, and by level 3, the attainment of adistinctive vision.

• Studio practice: Both individual and group tutorials take place regularly, as well as ‘crits’ and other group work. A flexible teaching and learning strategy offers a variety of student centred ways for students to grown in confidence and develop an understanding about their own work.

• Workshops: workshop instruction occurs throughout with our specialist team of tutors.; 3 hours per week.

• Contextual strand: Lectures and seminars for 3 hours per week, with the option of 1-1 tutorials on request.

• Visiting Artists: a programme of national and internationally renowned artists allows valuable insights into professional practice and and provides students with seminar and tutorial discussion on their studio work.

Lectures and seminars in the contextual strand and the peergroup critique in the studio, support independent, selfdirected work. Students will learn to create their ownnegotiated pattern of work as they move towards a finalexhibition for their degree show in level 3.

At Chichester, drawing is seen as an important element inthe development and realization of ideas and is the basis ofthe initial studio work at level one.

The degree can be taken full-time or part-time.

Professional experienceIt is vital that students are prepared for at least some of thethings the contemporary art world will throw at them ongraduating. We have developed a programme in which level 2and 3 students have to focus on aspects of professionalpractice and vocational experience. Recent students haveworked on site-specific commissions, community artsprojects, and work placements with local galleries andmuseums, residencies in schools, and even creating their ownvirtual gallery. The experience is invaluable in terms of workingto time and budgetary constraints and dealing with the public.

EmploymentThe course provides the opportunity to develop skills acrossa broad range of areas and become resourceful, reflectivelearners, finding creative solutions to new problems, with theability to be self-disciplined and able to work independently.‘Creativity’, thinking ‘out of the box’, and goodcommunication skills (visual, verbal, and written) are all keyskills that employers are seeking, and these are fundamentalskills developed by Fine Art. See brief biogs of formerstudents athttp://www.chiuni.ac.uk/fineart/FormerStudents.cfm todemonstrate how some are using their skills to be artistswhile others are using them successfully in all sorts of otherprofessional arenas.

Critical and contextual strandThe Critical and Contextual Strand encourages Fine Artstudents to re-think the nature of the Visual Arts; In addition itdevelops study skills necessary for the Personal Study inlevel 3. The integration of theory and practice provides thestimulating scholarly debate that is central to teaching andlearning, offers students an opportunity to relate concepts totheir own studio practice, and most importantly, enablesstudents to be able to argue why their work is as relevant tocontemporary practice as that of other artists in the spotlight.

AssessmentAssessment occurs throughout the course in the form ofvisual and oral presentations, seminars, group critiques,essays, exams and culminates in the final year degreeexhibition of practical work for all BA students.

Study tripsWe offer the opportunity for all students to visit a majorinternational city at an affordable cost to study themuseums, galleries and culture. Recent cities have includedNew York, Barcelona and Madrid. Trips to Museums andgalleries in London and other urban centres occurthroughout the academic year.

ExchangesCurrently we offer student exchanges for selected level 2students to go: Valance in South Eastern France, orThomson Rivers University in Western Canada.

BA Fine Art (FHEQ levels 4, 5 & 6)


The course is designed to support your studies and toenable you to strengthen your position as an artist. Themove from undergraduate to postgraduate study ischaracterised by the depth and focus of research and withthe increasing sophistication of a critically reflexive materialpractice. The emphasis of postgraduate research is on theintensity of autonomous study coupled with and supportedby rigorous debate and interaction with staff, visiting artistsand fellow students.

The course aims to enable you to achieve a critical reflectivepractice where studio work becomes the testing ground ofmethods, genres, concepts and contexts, and challengesthe boundaries and relationship between theory andpractice. For further information visithttp://www.chiuni.ac.uk/fineart/MaFineArt.cfm.

Duration of the MA course Full time – 12 months (September to September).Part time – 24 months (September to September)

Applications and entry requirements for the MAWe expect new MA Fine Art students to come with a goodunderstanding of how they might fit within the broad contextof contemporary fine art practice, and show ability to workconfidently within this area. We welcome internationalapplications and look forward to working with artists from avariety of nationalities, backgrounds, and experiences. Youare expected to have an Arts degree at 2:2 or above or arelevant professional qualification/experience equivalent to adegree. For further information contact the Route Leader,Dr. Shirley Chubb Tel: +44 (0)1243 816196 orEmail: [email protected]

Facilities & staffThe learning environmentAll BA students doing ‘studio practice’ modules (i.e. SingleHonours and Major) and Full Time MA students are allocateda personal studio base where each student will carry outtheir self directed projects and art work. All students alsohave access to workshop areas and technical support in thefollowing key disciplines: Welding, casting, working in wood,carving, ceramic and plaster, woven and printed textiles,feltmaking, embroidery, drawing, painting, printmaking,digital photography and new media, video and sound.Students have access to instruction and demonstrations inthese key disciplines throughout their study in a culture ofsafe working and professional practice.

‘artOne’Fine Art is located in a purpose-designed art building called‘artOne’. The building:

• provides specialist workshop areas in Sculptureand Textiles,

• a large spacious open plan studio for personal spaces,• a life drawing space,• an art materials shop,• a Gallery• an outdoor working area.

Lecturing staffThe lecturing staff are active practising professional artistsand researchers who regularly exhibit or publish their work.The friendly team of staff have expertise ranging frompainting, sculpture, textiles, digital art, printmaking andinstallation. There is a programme of visiting lecturers whobring professional contexts and enhance distinctive,specialist skills and practices (past visiting lectures listed at:http://www.chiuni.ac.uk/fineart/FineArtAcademicStaff.cfm)

Technical staffA team of technicians with a broad range of specialistexpertise support the staff and students.

The Otter GalleryThe Otter Gallery is an on campus Art Gallery open to thepublic. Each year a programme of exhibitions is organised toinclude the work of established and emerging national andinternational artists. The Gallery is also used to exhibit bothstudent and staff work and also work from our own ‘OtterCollection’: an important collection of British 20th century artwhich includes work by Henry Moore, Patrick Heron andStanley Spencer.

Pallant House Gallery, ChichesterStudents can take full use of the research opportunitiesoffered by the gallery in supporting the critical andcontextual strand through group visits and by becomingmembers of Pallant House Gallery. Pallant House Gallery isone of England’s leading galleries. It’s collection of 20thCentury British art is a wonderful resource for study. Thegallery won the 2007 Gulbenkian Prize for museum of theyear in recognition of its status and public accessibility.Pallant House has a programme of visiting artists, artiststalks and an exciting programme of exhibitions thatshowcase the work of leading contemporary artists. Thegallery has links with the Otter Gallery, and strong links to theFine Art course. www.pallant.org.uk

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MA Fine Art (FHEQ level 7)

Academic StaffSteve McDade – Head of Fine ArtChris Aggs – Painting & printVictoria Brown – TextilesShirley Chubb – MA coordinator, print & mixed mediaRachel Johnston – Textiles & mixed mediaChris McHugh – PaintingTim Sandys-Renton – Admissions tutor, sculpture & video

Associate LecturersElizabeth Colley – PaintingJez Stevens – Digital artProfessor John Gibbons - SculptureMary Stevens – Print

Art TechniciansDi HockinNik JewellBob MarshallAnne White

Media TechnicianSarah Wright

External Examiner for BAProfessor David Manley – Emeritus Professor of Art,University of Derby

External Examiner for MAProfessor Allan Walker – Glasgow School of Art

Course AdministratorChristine Ferguson

Subject LibrarianWendy Ellison

Visiting Lecturers from 2009/10Matthew BurrowsMarc SteenMark PowerJames Faure WalkerGerry KingBrian McClaveChris Orr R.A.Gavin PeacockClio PadovaniAngela KingstonJosie Aston

Directory of staff

Open days, evenings and shows• General open days• Mature Students' Evenings• Fine Art specific Open Days• Fine Art Degree Show

Open Days are held throughout the academic year. You mayattend talks about the course structure, tours of theworkshops and studios in artOne, and you might also like tobook a portfolio advice and preparation session

Find out moreFor more information visit our website or contact:Christine Ferguson, Programme AdministratorDepartment of Fine ArtUniversity of ChichesterBishop Otter Campus, College Lane,Chichester, West Sussex PO19 6PETel: 01243 816253Fax: 01243 816080Email: [email protected] web: www.chiuni.ac.uk/fineart

Find out more

Catalogue CreditsDesign: Graham Roy DonaldsonPhotography: Bob Marshall


f ine art 2010

fine art programme at the university of chichester

Documents

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