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DESCRIPTIONVisual Belfast is the new online and printed journal for the Belfast Campus of the University of Ulster. It will have all you need to know about students work, tutors, artists in residence, graduate work, and other student issues!
VISUAL BELFASTThe Creative Journal
Volume 1 - February 2012
Visual Belfast has been created so that students in the Belfast Campus may have ownership over a publication that is also a respected and esteemed way to promote their work. It is a publication that will include students work, interviews with Tutors, UUB Graduates, Artists in residence as well as covering many student issues and answering questions posed to our VP of student and academic affairs, Stuart Cannell. Being involved in a University publication such as this will look good on any CV. Why not be a part of it?
Email VP Stuart Cannell at email@example.com and check Visual Belfast out on Facebook
Calling all Photographers/Writers/Artists/Designers
For the people who do not know me, I am taking a year out in between second and third year of printmaking. I noticed that there was a lot that could be done to promote the art students within this University, and so we began thinking of many projects through the year that could be carried out.
We started this project to help promote local talent. In this Art College there are hundreds of students waiting to be unearthed, and we believe this Journal will be a progressive way for them to highlight their artistic abilities. Whether that is in writing, design, inventions, architecture, ceramics, printmaking, painting, fashion (the list goes on), there is a place for everyone within the Journal.
In conjunction with this Journal there will be a number of videos released each month to give you a flavour of the students and lecturers here. You will be able to see what life is really like as an art student, and what their opinions are on their work and the environment around them. Think of it like a Tateshot with a Belfast tweak!
I hope you enjoy this Journal, and please feel free to write to me with any comments or suggestions you might have.
Student Interview : Rose Quinn 2 Lecturer Interview : Janet Preston 8 Graduate Interview : Gerard Carson 10 / Stuart Calvin 12 Artist in Residence : Lauren Crabb 14 / Ross Watson 15 Gallery Review : Home Grown 16 / Late Night Art 17 / Contemporary Applied Arts Exhibition 19 Agony Uncle : 22 Just A Thought : 25
Vice President, Academic and Student Affairs,
designed by Enyo Belfast
Visual Belfast opened a competition in November 2011 asking for Belfast campus students to send images of their work that might be suitable for the front cover of the new journal. The prize was to be an interview and four page spread within the journal focusing on the winners practice and work as well as the winning image to be the front cover of the journal.Rose Quinns winning image stood out particularly amongst a very highstandard of entries because of the way it was composed and the intriguing nature of the content. It evoked curiosity and that is what the judges of Visual Belfast loved about Roses image. Here is her interview where Rose tells us a bit more about her work and inspiration.
Why did you choose to study STVP?
Well, I did Foundation art and design here at the University of Ulster and towards the end of that year I specialised in sculpture. I then went into this, sculpture, video, time and photography all under one area. During first and second year you could say it is more practical and experimental but you dont really know where you are going with it. People always say you will be lost in your first year but I just experimented with materials, reusing things and playing with different materials like netted curtains.
Tell us a bit more about your work this year and the expand-ing foam.
During the summer before third year I saw a guy using expanding foam in his work on the outside of his frames and I just thought it was very interesting how ex-panding foam controls and shapes itself. I begin experimenting with expanding foam about 3 months ago (September) and I really like how it controls time and space. A piece that I make with expanding foam might take a couple of weeks before it stops growing and shaping itself. I pre-stitch things and the foam can even rip the seams! Sometimes I rip away the material on the outside of the foam and it leaves a cast shape. I will use a whole can of foam in one go because it can dry up in
an hour once its opened. I will fill a stitched piece of material with foam and leave it over night and allow it to form its own shapes and bulges. It is a lot about how when the foam is growing, how I manipulate the shape with bulges and the way I stitch the material!
Do you prefer your finished work without the material around it or with the material still intact?
That is the question! I like it without the material but at the moment I am working on a final piece which is going to use a wood burner to leave some of the lace pattern on the cast once I rip the material away. So, I like the casts that the foam leaves but I also like how the material rips off and some of it almost looks like a rupture or a gash. I have been questioning the physicality of things like tights, and how the foam will fill tights and make the shape of a foot, like what it is designed for! I started putting wooden pipes down tights and trying to control the shapes that the foam makes etc.
What is it you want to do after Art College?
Well at the moment I am not sure. In the future I would like to become an artist in residence with Arts Care who work closely with the health and social care trust hospitals. They help patients to regain confidence again from a traumatic injuries and use art as a tool to help them to gain new skills and participate again in daily life. I worked with Arts Care when I did my module; Professional Practice in 2nd year which was for 8 weeks. I worked with artist in residence
Cheryl Bleakley who is a current residence in Musgrave Park Hospital in Belfast.After graduating I think I will focus more on my work and building my small site I started last year, Rose Designs and see what happens from there. The reason I built this site was I think people who have the strengths in Art is a unique gift as you can make unusual items that are different to the high street. Man made materials do not have the same aesthetic qualities of a handmade product because dedication, time and love have been added into the piece.
What is it about Art Therapy that you like?
I find it very rewarding when giving a person another chance to live their life to the full again, regardless of their disabilities. I find it curious how art is difficult to measure in the scientific side i.e. the effects of arts and the visual environment in how patients recover. I like the freeenvironment in an art studio when working with an artist in residence, their work is an additional to art as a talking therapy services. The individual does not need to tell of their past or traumatic injuries. How-ever, Art therapy is a more clinical environment were a patient has to disclose their injuries to art therapists as they work closely with their trauma through the medium of art, sometimes art can help us to take our mind of daily things and help us to heal. This is why I think art therapy is very important.
Describe your work in one word.
My grandmother suffered from Alzheimers. The aim of this work is to try to gain an understanding of how it might feel to recognize a face and yet not be able to place the person or place any memories of our relationship.
My work is inspired by landscapes that have been untouched by mankind. Rural spaces that is rich with beauty, rugged, weathered and naturally eroded. Some preconceptions persist that the thrown vessel is functional and located within the domestic domain rather than being perceived as conceptual art.
This painting is of Brutalist concrete apartments in Ivy Sur-Siene, Paris. The clusters of apartments become scrambled and meaningless. The perspective is wrong and the stair on the right extends infinitely. Surrounding context is questionable or absent. Impossible shapes become structural, and the colour of the broken bridges interior questions its reality.
Stitch allows for my own interpretation, allowing connection or networking of words. I create multiples,which look simplistic, uniform, and monotonous, yet have deep layers of meaning, metaphors and association.
Can you give us a brief history of yourself and how you became involved in your area of expertise?
Well, I studied here. I did the undergraduate degree and went on to the a postgraduate. Then it was called Fine Art, not Fine and Applied art. I painted for more or less the first year and there was a lecturer here originally from Kansas, originally a print maker. So he commandeered a few of us after a lecture he took one day and at the time I was doing a lot of mono-chromatic work. I think he saw potential in my work to take it on to print making and so I stayed. So really it was encouragement from Ken Jones. There was another lecturer here at the time called Peter Ford who introduced us to photographic printmaking techniques.
Would you say it was your lecturers at the time then, who inspired you to pursue a career in print making?
Yes, absolutely, at the time time Ken Jones had just completed a residency at the Belfast Print workshop and we got to know him very well. He talked a lot about his residency at the Belfast print workshop and encouraged us