More great news for Camberwell College of Arts BA Drawing course as 2012 graduate Venisha Francis-Hinkson has been selected for ‘Open Cube’, taking place 11 July – 21 September 2013 at White Cube, Mason’s Yard, London.

“Leading contemporary art gallery White Cube has invited Sao Paolo-based curator Adriano Pedrosa to curate an exhibition at their Mason’s Yard gallery, London in July 2013. Pedrosa’s project, titled Open Cube, will attempt to infiltrate the hierarchies of the gallery system by inviting any interested artists to submit works to be included in the exhibition. By opening up the selection process, Pedrosa wishes to unsettle the system of gallery practices, initiating a dialogue with artists that might not have access to this network.”

The images (above and below) are of Venisha’s artwork that was selected to be exhibited in the show.

Congratulations Venisha!

Images (above): ‘Script’ and (below) ‘Erasure’ by Venisha Francis-Hinkson.

Can you tell us about what you were doing before you started on the MA Book Arts course?

I was doing BA Illustration at Camberwell.

 Why did you choose this particular Masters course?

During my study of illustration, I gradually explored my interest in book form, book structure, the texture of paper, and how to handle books. The uniqueness of hand-made books is really attractive to me, so I wanted my research into artists’ books and experimental practice to go further.

How did you find the course structure and the way you were taught?

I found the course well structured with an easy-to- adapt rhythm. The most important and interesting part of the course was being given the opportunity to play roles in book fairs and exhibitions. It gives me a deeper understanding of the fact that art is about communication and making people understand things better.

Can you give us an example or two of the particular projects that you undertook on the course?

All the projects I did during the course were about books and food.

Mille Feuille: A Recipe for Sharing is perhaps my favorite project. It’s a book work that explores the collective experiences that surround food through the shared experiences of reading. It demands not just one, but two readers who have to work together to navigate the text through the pages of the book.

I had a solo show with this book in an antique bookshop. Visitors were invited to recreate recipes based on the content of the book during the opening event, and then those recreated recipes turned into another piece of book work.

What have you been doing since you graduated from the course? 

I went back to China in the end of October and spent lots of time working on my portfolio and resume. For graduates like me who never had any proper working experience, a well-designed portfolio is the only way to catch employers’ attention.  

Congratulations on your new job at Penguin China. Can you tell us a bit about your role there?

I have been hired as Penguin China’s first in-house designer. Basically, the purpose of the role is to coordinate and execute design work on behalf of departments across Penguin Books for commercial and publishing needs, it includes book design, merchandise design, branding and some special projects.

Has the MA helped at all with this and if so, in what way?

I think the projects I did during the MA has made my portfolio strong enough to catch their attention.

What did you enjoy about studying at Camberwell?

I enjoyed assessments and symposiums as I found myself being easily inspired by other people’s conversation. Outside college, the most fun part were the dinner parties I would have with a small group of friends. It was actually a perfect response to my food-related projects.

What tips would you give to a student starting out on this course at Camberwell?

Do make sure that what you are going to do is something you really want to do. This will make the process much more enjoyable.

Hi Ashley, What were you doing before the MA Illustration course at Camberwell?

Before the MA, I studied for a BA degree in Graphic Design at Northumbria – it wasn’t until my third year that I specialised in Illustration. I knew I wanted to learn and develop my illustration skills further so I took a couple of years out to work and travel before applying for my MA as I wanted to be 100% sure that is what I wanted to do! I continued to draw and enter competitions in the meantime.

Why did you choose this particular Masters course?

I chose the MA course at Camberwell because the other courses I looked at were either too specialised or just didn’t feel right to me. As soon as I came to the Camberwell Open Day, wandered around, saw the studios, witnessed the ace printmaking facilities and chatted to the tutors – I knew I would feel right at home here.

How was your experience of the MA Illustration course?

I loved it, my main issue with my work when I started the year was lack of confidence in it! The tutors picked up on this and told me not to – ha! The course got me experimenting with my style, taking risks and thinking about my work and approach to my work differently.

Can you give us an example of a specific project that you undertook on the course?

For my final project I decided to create a narrative around the Inuit folk tale ‘Blubber Boy’. I wanted to push myself into creating a story that read well, flowed and captured the viewers interest. I wanted to use a limited colour palette and experiment with the use of white space. I had attended the colour workshop with Anna Bhushan throughout the year and started to realise how important it was to think about colour before beginning the illustrations.

What have you been doing since graduating from the course?

Since I graduated I have been working part-time whilst pushing myself to become a fully fledged freelance illustrator. I have been commissioned by a few ace clients on my own and with my illustration collective ‘Three Piece Suite’. I have had the opportunity to paint festive window displays, illustrate cafes, create illustrations for editorials, blogs and websites.

What did you enjoy most about studying at Camberwell?

The thing I enjoyed most about studying at Camberwell was the freedom the course allows, which is strange because the idea of that much freedom and designing your own projects scared me before starting the course. It allowed me to prepare for when the course was over and I was thrown out into the big wide world to fend for myself! Of course the best thing about the course was meeting so many ace people!

What tips would you give to a student starting out on this course at Camberwell?

Tips…I would say to come prepared to work hard, especially if you are a natural procrastinator! You will get as much out of the course as you put in, so if you have an idea of what you would like to achieve in the time you can start out running. Also, do your research essay as soon as it has been set…

Can you tell us more about your artistic practice?

I enjoy all aspects of illustration but in particular – editorial illustration and narrative. I enjoy the challenge of reading and understanding an article/story in order to produce the best illustration to add an extra dimension and enjoyment to the piece. I love limited colour palettes, patterns and experimenting with different materials.

You established an illustration collective with some other students, can you tell us more about that?

During my year on the MA course I made some pretty ace friends and we discovered how well we worked and collaborated together. I think having a group of friends to push you to try new things and experiment is a fantastic resource to have! We decided that since we worked so well together, instead of meeting and eating, we would meet, eat and illustrate – and it progressed from there! We have just completed the re-brand of the Love Walk Cafe in Camberwell and we are working on our first publication.

To see more of Ashley’s work please check out her links below:

Ashley Fauguel website

Ashley Fauguel Illustration blog

Twitter – @ashleyfauguel

Ashley Fauguel LinkedIn

You may remember way back in October last year Camberwell Space played host to Le Fil presents ‘Pop Sculpture: The Filosophy Of Making’?

Following on from that amazing show Le Fil is back. This time with his first music video for the song ‘Black’. Filmed at Arcadia Missa in Peckham the video is a collaboration between Le Fil and director Boldizsar CR (ASWESAW).

Le Fil is a male pop artist and performer. Born Philip Li from Huddersfield and graduated from BA Ceramics at Camberwell College of Arts in 2009.

lefil.co.uk

Collective Investigations

Egidija Čiricaitė, Chris Gibson and George Cullen all studied MA Book Arts at Camberwell. After graduating they set up ‘Collective Investigations’ and have recently been awarded an Arts Council Grant for their project codex: between this and that.  Here they tell us about their experience at Camberwell and their new project.

Can you tell us about what you were doing before you started on MA Book Arts?

Egidija: I came to MA Book Arts from the Foundation course at Chelsea College of Art and Design. However, I have been working on various graphic design projects since my first round of higher education in late nineties, when I was studying for the MA in English Linguistics in Lithuania.

Chris: Originally I did a Fine Art BA at Sheffield-Hallam in Time-based Art and after that I spent several years doing a nine-to-five job and making art on the side.

George: Before the MA I studied Graphic Design and Fine Art. I also took part in various small publishers fairs in London and Cardiff producing zines and exploring bookbinding and book structure.

Why did you choose this particular Masters course?

Egidija: As I was graduating from the Foundation course at Chelsea, I realised I wanted to continue with my arts education, but I felt that yet another BA was not an option. I was looking for an MA course that would allow me to combine my nerdy self with my creative self: I have a background in linguistics and a history of making. In addition, the course had to be either at Chelsea or Camberwell – I could only proceed with a course which was near home because of the family commitments.

Chris: My work has always featured books, either as a source material or as part of the content. I didn’t know why books were so central to my practice, so I wanted to spend some time exploring that in a rigorous and more focused way, with the hope it would invigorate my work.

George: I was exploring books from a design angle for a while before the course but wanted to focus my practice. I chose the course as a way of exploring my thoughts in the book. My practice was becoming more fine art based and it provided me with a group to explore this.

How did you find the course structure and the way you were taught?

Egidija: I chose the part-time option of the course (now Extended Full Time). As a student with a non-arts background I had a lot of catching up to do. I have got a family too, which means, I need extra time to allow for the parents’ evenings and swimming lessons.

The course gave me a lot of freedom to explore my potential. I spent much of my time at the ceramics workshops where I experimented with porcelain and fired papers. I spent time in the library and casting too. There were no theory lectures, but there was a variety of speakers from a range of disciplines on Wednesdays to support professional development.

Chris: The course structure wasn’t too much of a culture shock due to my fine art background, but getting my head around the established and sometimes conflicting idea of what Book Art can be, took some time.

George: The nature of the course group was that we were all from different backgrounds not necessarily from a book arts but all with an interest in the book. This was really stimulating in terms of the group crits and learning from your peers. We had various self directed and structured crit sessions in which you could talk about your work with input from other people. This was really useful for testing ideas and learning through others experiences.

Can you give us an example or two of the particular projects that you undertook on the course?

Egidija:  Over the course of my MA I completed an investigation into memory/forgetting and the book in that context. In the summer before the course started I came across a wheelbarrow full of books in my parent’s barn. The books were on the way to be burnt. They were old Soviet propaganda books that nobody needed or wanted anymore. I brought the books (minus the wheelbarrow) to London and I used them as a starting point to explore durability of historical truth and fetish of the book. I have worked with ceramics before, so it was only natural to take my books there first. After a few months of experimentation I started producing very delicate sculptures of fired books. As a result of this project I have also produced a set of artist’s books and live cast bronze sculptures.

Chris: The course was very open-ended so by the second semester I was developing projects outside the institution, either finding a local gallery to exhibit in with friends or creating work in response to specific places. By working outside the college it eased the transition when creating work post-Camberwell.

George: I think the final project for the graduate show was the most interesting for me. It gave me a chance to look over my past two years and pull out the links between the work I was making. I used it to present a body of work that became the culmination of my thinking at the time. I was able to pinpoint my interests in the book and realise what brought me to book arts in the first place.

What have you been doing since you graduated from the course?

Egidija: At the graduation show, my books were bought by Tate Library’s Special Collection – this gave me an important boost of confidence. I have since exhibited and curated in book art and fine art contexts in the UK and abroad. I have run creative bookmaking workshops in in schools, galleries and museums, including the British Museum.

I have also received a Bookartbookshop award, which led to me to co-establish ‘Collective Investigations’ with codex: between this and that project which is running at the moment

Chris: Since graduating I have still been doing a day job, but my focus has been much more on making my own work and getting involved with opportunities and projects.

George: Since graduating I have been developing my work through exhibitions and book fairs. I’ve taken part in a group show with a group of artists from the course and also artists from different backgrounds. I’ve shown at book fairs inside and outside of London which has been a useful way for the public to engage in my work and a different set up to an exhibition. My work has also been included in the Tate Library, London.

Congratulations on receiving an Arts Council grant! Could you tell us a bit about the project, Codex: Between This and That?

The project was born on our kitchen table as part of a larger collaborative project between the three of us called ‘Collective Investigations’. We were looking at the ways to widen discourse on the idea of the book and so codex: between this and that was born.

We submitted the application for an Arts Council arts grant in January and six weeks later we had a thick envelope through the doors with the positive reply. The project as it is would have not been possible without Arts Council’s support.

The project consists of three parts:

A publication - It is an artist’s book that explores thoughts, opinions and ideas that book as a codex represents through the many contexts of its existence.  The publication contains contributions from Mark Cockram, Les Bicknell, Riccardo Boglione, Michelle Brown, Paul Coldwell, Ali van Dam, Janine Harrington, Susan Johanknecht, Sharon Kivland, Pauline Lamont-Fisher, Richard Price, Stevie Ronnie, Erin K. Schmidt, Abi Thomas. It will be launched on 26 April, 2013 at Bookartbookshop, London.

An exhibition - at Bookartbookshop (April 19 – May 03 2013) in which we have created work responding to the shop and its collection.

Workshops - They are creative bookmaking workshops at Shoreditch and Clapham libraries aimed at introducing the general public to the possibilities of the book. The workshops are free.

When codex: between this and that is finished we expect to continue with other types of investigation in response to other venues. Each will involve exhibitions, workshops and publications.

http://collectiveinvestigations.tumblr.com/

How has your MA helped you?

Egidija: The MA has allowed me to grow as a professional artist, first of all. It gave me the confidence and it has introduced me to the networks and the skills that allowed me develop after graduation.

Chris: The MA has proved incredibly useful. It allowed for a period of intensive reflection and experimentation. It introduced me to a lot of artists (both students and established artists) whose work addresses very similar ideas to my own. The location of the college can’t be overstated, as there is so much happening in London.

George: The MA has helped me by focusing my practice and allowing me to explore my work within a group. It has given me a great base of artistic knowledge in London.

What’s the best advice you were given while at Camberwell?

Egidija: Be proactive.

Chris: A visiting lecturer gave us some excellent advice and that was to develop a minimum standard of working that you can achieve every day, rain or shine so that you are always in the habit of making or reflecting. I worked part-time to fund myself, so this was useful advice as it pushed me to find time each day to keeping working or thinking about my art.

George:  Document your progress. This becomes a crucial tool for development. Reflecting on what I had done always led to something else.

What tips would you give to a student starting out on this course at Camberwell?

Chris: There are so many opportunities (from exhibitions to see, talks to attend, facilities to use) that I would recommend only focusing on the things that will help the development of your work. Find a structure for recording things that works for you (like a sketchbook, a notebook or blog etc.) and keep it well, as it’s surprising what things you might want to revisit or refer to as the course progresses.

George: Use the group while it is there. You will learn the most from your peers so make sure you are an active part of it.

www.egidija.com

www.christophergibson.co.uk

http://georgecullen.tumblr.com/

http://collectiveinvestigations.tumblr.com/

Egidija Ciricaite

Chris Gibson

George Cullen

Camberwell BA Drawing alumnus John Hill has curated a new show entitled ‘You Screen I Screen Unscreen Sunscreen’ at Library+ in Rotherhithe. Library+ is a contemporary art project space in the former Rotherhithe Library.

The show features the work of Camberwell BA Painting alumna Nicole Morris alongside work by Richard Sides, Hania Stella-Sawicka and Holly White.

Show is open Friday 12 April, 12.00 – 17.00 / Saturday 13 April & Sunday 14 April, 12.00 – 18.00. Or by appointment – email: us@libraryplus.us

libraryplus.us

Two Camberwell College of Arts BA Illustration graduates Clara Lacy and James Tanner are two of the four artists chosen to appear in Lee Coopers ‘Meet the Makers’ ad campaign. As well as promoting the company’s clothes, the adverts showcase the work of four young creative people in London. The other artists are Alexander Bradley and Chelsea College of Art and Design graduate Alice Mendelowitz.

For more information and to see the ‘Making of…’ film check out Lee Coopers website.

Hi Darren!

Can you tell us about what you were doing before you started on MA Digital Arts (now MA Fine Art Digital)?

I finished a BA in Music with Digital Arts at Dartington College of Arts 2 years before starting at Camberwell. In that time I taught on the Digital Arts pathway at Dartington, started work as a software developer for interactive installations and I worked on my AHRC funding application which I was granted the second time I applied.

Why did you choose this particular Masters course?

I chose this course because it was the only course I could find in London that was called ‘Digital Arts’, the name of my minor pathway at BA level. The naming of the BA course was always contentious and was born from the same place as the Camberwell course name. Although I acknowledge that I might not have entered the course had it not been called Digital Arts when I applied, I believe I am in an extreme minority. The new course name is very well suited.

How did you find the course structure and the way you were taught?

I think ‘the way you were taught’ is a difficult phrasing as I saw this course as a self directed research in practice course. I don’t feel I was taught so much as stimulated, critiqued and guided. The structure of the course allows free flowing discussions about people’s work and theories of Digital and Fine Art, New Media and technology. It allows students space and freedom to explore their creative potential and artistic thinking to very high standards in a constructive and positive environment.

How did you find studying the course online? Did you still feel part of a community?

I felt there was a much stronger community online than in face to face. Studying online and the format of the online group chats enables a very high level of discourse amongst people from extremely varying backgrounds. It was a chance to learn about different artistic approaches and different cultures. It enabled people from all over the world who spoke varying levels of English to communicate their ideas in written form, which helped reduce language barriers substantially.

Can you give us an example or two of the particular projects that you undertook on the course?

The course is based on one project, from proposal through to realisation. My project was about data visualisation in various technological mediums and explored areas of Determinism and free will.

What have you been doing since you graduated from the course?

I am now one of two directors in our media company The Media Workshop Ltd. We create video content for various clients including the BBC, O2 and Network Rail and I lead our software development side, creating websites, mobile apps and interactive installations.

Has the MA helped at all with this and if so, in what way?

The MA helped me develop and realise my creative potential and has given me a huge confidence boost in visual creativity. Although I feel I would struggle to make a living as an artist, I continue to make art when I can and the project that I completed as part of the MA is a great portfolio piece for our company.

What’s the best advice you were given while at Camberwell?

That I should push myself to be more visually creative and not concentrate on programming and code too much.

What tips would you give to a student starting out on this course at Camberwell?

Use the discussions with the group as positively as possible. Contribute as much as possible and take note of and address any comments about your work. Use all the facilities in the college and communicate with your lecturers. Blog regularly about every aspect of your creative life.

darrenperry.com

themediaworkshop.co.uk

Hi Jukhee!

 What were you doing before you started MA Book Arts?

I came to London from South Korea in 2008. During my first year here I took courses to improve my English and had part time jobs teaching yoga and taking property photographs. The following year, I still wasn’t quite sure what direction I wanted to go in so I managed to re-start my career as a freelance illustrator which was what I was doing in South Korea before I came to London. During this time, I met quite a few people from various art backgrounds – gallery owners, curators, street artists, music producers, performers, and people who just had an interest in art.  I was trying to understand the difference between Western art and Eastern art as well as the culture from both sides.

London is a great educational spot for artists. There’s a real creative atmosphere and there is always something going on around you. It has really influenced me.

Why did you choose this particular Masters course?

MA Book Arts at Camberwell is a very specific course that you can’t find anywhere else in London. It is a specialist course combining art, literature and design in one form. As I mentioned above, I was an illustrator in Korea and was interested in making structure with images and letters on the same page.  For me, book art is where two-dimensional meets three-dimensional. I was very interested in this crossing over of art. The book is quite an ordinary object but art can be extraordinary. When the two meet, what happens? I was curious and I decided to face it! And…I was very satisfied with what I found!

How did you find the course structure and the way you were taught?

I took the course full time and I found the first few weeks quite full on. It took me a little while to settle down into the new routine with college and a job I had started at the same time.

In the first official lecture, everyone presented work we had done previously and we talked about our interests as well as our project proposal. It was good opportunity to get to know one another and understand what others were hoping to get from the course.

Every Wednesday, there was a talk from a visiting lecturer open to students from all courses. I attended the lectures because sometimes it would be an artist I had an interest in but other times it was about something really different from what I was doing and I went to expand my knowledge.

There wasn’t too much emphasis on writing and I was given more time to present my work to help with the language barrier. My friends who were attending other colleges and universities struggled with the massive amounts of writing they had to do. Sometimes they would spend more time writing than making. I was encouraged to do more practical work.

Can you give us an example of a particular project that you undertook on the course?

In my degree show, I suspended a 9 metre book from the ceiling in stairwell at the College. I created my new book by deconstruction. I cut the pages of the book line by line with each line connected to the book spine. I took all the pages out and they fell towards the ground. The paper in a book comes from trees and my book falls to ground where it first came from. Through deconstruction, the book is no longer a book as you you’d know it, but it is transformed and is given new meaning and new life.

On the course, I tried to understand “a book” my own way. To me, it is an object that has so much potential outside of its squared and closed form.

What have you been doing since you graduated from the course?

 I finished my course in 2011 and I applied for a PSW Visa (Post Student Working Visa) to stay in the UK for two more years. Through my degree show, I was invited to exhibit at Forman’s Smokehouse Gallery in East London and as well as with a Korean artist group show at Bargehouse Gallery, Oxo Tower in London’s South Bank. I was lucky enough to get a one year contract with La Scatola Gallery in East London and I took part in a group show and a solo exhibition there in 2011. At the same time I received an invitation from the New York Art Book Fair to be a panellist at their conference. Actually, my former tutor at Camberwell, Susan Johanknecht, recommended me to the organisation and they contacted me.  The conference was titled, ‘Focus on Asia’. It was an amazing experience. I loved New York very much. One day I want to go back there to exhibit my work!

After New York, I moved to Italy from London for another challenge. Now I live in Grottaferrata near Rome. I have been making my book work here since I moved and I was invited to the group show at October Gallery in Central London late last year. I also had a show with the October Gallery in February this year and the gallery brought one of my books at the Dubai Art Fair recently.  I will also be featured in Sculpture Magazine soon through my work with the October Gallery.  Since I graduated I have fortunately had many opportunities to show my work. It has really helped me and encouraged me to try to develop my practice more and more.

Has the MA helped at all with this and if so, in what way?

The degree show and exhibiting my 9 meter book really opened up other opportunities. My tutor also really supported me and helped me get further opportunities. I also applied for an alumni card so that I was able to access the library after I graduated. It is truly vital to be able to access a great library. It helped me out with my research and practice.

What’s the best advice you were given while at Camberwell?

My best advisers were my course mates. We created our own crit group. Everyone who came to the meeting was supposed to bring their work in progress and discuss with everyone. Even if you didn’t have anything to show, it was fine just to stay together and share the feedback. I found it very useful and liberating to express what I was doing and my opinions. In the group meetings I didn’t have the pressure to speak perfect English and I was able to express myself more. I believe that the best advice is also support and trust. It doesn’t appear with certain form or figure but it gives you lots of energy and power to be able to focus on your project and give you confidence. I was lucky to have had such a support tutor and friends on the course.

What did you enjoy about studying at Camberwell?

Camberwell has quite few specialist courses like Book Arts and Conservation. It also has quite unique workshops such as the Letterpress and Conservation Studio. I attended inductions in those areas to experience new materials and methods. Applying a different area’s art on my practice was thrilling and it helped me to expand my horizon and artistic perspective.

I also enjoyed the benefits that I gained from the local area.  It’s very cool. There are several inspiring places like the South London Gallery and New Gallery where I had a group show with my course mates. Anish Kapoor has a big studio nearby and his new gallery is just ten minutes away from college. One of my favourite artists, John Latham, has his studio just twenty minutes’ walk away from college too. I visited these places often to be inspired by their creative energy.

What tips would you give to a student starting out on this course at Camberwell?

Firstly, be proactive. You won’t be spoon fed but you will be pointed in the right direction so be active and put all you energy into what you want to achieve during the course.

Secondly, get to know lots of people. London is great city where you can meet all kinds of people. You can learn so many things from others who you meet inside and outside of college. Networking is key and take advantage of being in London.

Finally, don’t be afraid of what you are doing.  Do not forget that you are a student not a teacher. You can be relaxed and feel free to do whatever you would like to do! College is the place where you can express yourself and absorb various things from others. Try to digest influences in your own way. For me, that’s the moment that your art is produced.

Book Landscape

Red Presence

View more of Jukee’s work on her blog

Jessica graduated from MA Fine Art Digital in 2012. She studied the course in two different modes – for her first year she took the part time mode which is now available as an Extended Full Time mode and in her second year she switched to the online mode which is now called Low Residency as it includes three, two-week residencies at the College at the beginning, middle and end of the course.

Can you tell us about what you were doing before you started on MA Fine Art Digital?

Before I started the course I worked part time as an ICT technician in the Art department at the Institute of Education (where I still work) and as a freelance graphic designer. Having done BA Fine Art some years previously, I was also a practicing artist, working mainly in video and mixed media (when I had time!)

Why did you choose this particular Masters course?

I chose this course for several reasons - to be able to spend more time focusing on my own artwork and ideas in an educational context and because the subject area of digital arts seemed to be the exact area that my work and my ideas fitted into. I also wanted to gain a in depth knowledge of my subject area that would be able to inform both my own practice and improve my skills in my job. I chose the part-time (now extended full time) mode of the course because I could fit study in around my existing schedule.  In the second year of the course, I switched from to the online mode (now called low residency) to give me the flexibility to continue with my MA when my circumstances changed and I moved abroad for a year.

How did you find the course structure and the way you were taught online?

The course structure was good – the group meetings and online chats were at a set time each week so I was able to incorporate these easily into my schedule. At the beginning of the course, we were encouraged to devise our own self-directed plan of study combining research and practical application, which was supported by tutorials. This developed throughout the two years, creating a body of work made towards the final exhibition. Our progress on the MA was all documented on our personal blogs which served as a reflective journal and were an essential tool in reflective learning. At the end of Unit 1, we wrote a dissertation in relation to our own subject matter, this contextualised our work and lead to deeper thinking.

How did you find studying the course online? Did you still feel part of a community?

For me it was fantastic to be able to continue my studies online. I had a slightly different experience to most of the people on the course as I did half of the course face to face and half online, but I really enjoyed both modes and didn’t feel one was better than the other or that anything was missed out by learning online. The online access to facilities was very good, there is a large e-library and our course leader, Jonathan Kearney, made recordings and videos of on-site lectures and gallery visits available to us – he was very enthusiastic about the subject matter and interested in the possibilities offered by learning online. Yes I did still feel part of a community, largely because of our weekly two hour web chat with our tutor and the other online students, and also by being able to follow each other’s progress by reading everyone’s blogs. Our group bonded strongly through discussing our work and ideas, it was great to be able to share experiences and study with people in vastly different places around the world and in different time zones. When most of us met up at the end of the course for the final exhibition, we felt we knew each other well from our online experiences, even though we had not met before.

Can you give us an example or two of the particular projects that you undertook on the course?

My work on my MA centered around the idea of creating realities using digital technology, and looking at the impact that this changing technology is having on our daily lives. My methodology of observing and photographing people engrossed in their own worlds using technological devices, lead me to make a series of films entitled “Tetrad” in which the subject appeared four times – different versions of themselves undertaking different activities while seated on a sofa. These films were a constructed portrait of both the subjects in the films, and their interaction with their technology. After experimenting with various ways of displaying the works, for my final show I installed the films projected at life size opposite a real sofa that the viewer could sit and have a direct relationship with the figures on screen.

“Creating Realities (Tetrad #7)” 2012. Video installation. Jessica Barr

What have you been doing since you graduated from the course?

Since graduating I have continued with my job, traveled around India and South East Asia for several months and I have been working on new art pieces that are developments of my MA work and will formulate the basis of my ideas for my PhD proposal. I also have a forthcoming show at a Cultural Centre in Phnom Penh, Cambodia, where I will recreate my MA work in a new environment.

How has your MA helped?

The ways of thinking and development of my practice during my MA have made me want to continue with my research and do a PhD. The skills and knowledge from my MA have also been useful in many contexts, at work, putting on gallery shows and for my work as a digital/moving image artist.

What tips would you give to a student starting this course? 

While I was on the course I was told to write my blog regularly as it was so useful to help with my development throughout the course, and to keep track of how my ideas and work were progressing. I would advise a new student starting on this course to make lots of work and keep their ideas expanding, as well as keeping their blog up to date and of course to just enjoy it!