We interviewed professional jeweller and short course tutor, Anastasia Young, about her work in the Short Courses exhibition as well as her wider practice and inspirations.

© Anastasia Young

What is your full name and what short course/courses do you teach?

My name is Anastasia Young and I teach courses in Experimental Jewellery, Stone Setting in Silver Jewellery, Jewellery Making for Beginners, Jewellery and Wax Carving, Soldering Masterclass (Weekend), Tube Setting (Weekend) and Flush Setting (Weekend).

The courses I teach are very practical, allowing students to learn as they get to grips with the possibilities (and limitations) of the materials being used. I use set projects as a framework for the courses which allows beginners a supportive environment, and also gives intermediate students the chance to push things a bit further when they are ready.

Most of the projects are made in silver, although we use a range of materials throughout the courses, from acrylic and resin to copper, textiles and of course gemstones!

© Anastasia Young

How did you come to work in your field/discipline?

I didn’t plan on becoming an artist initially – in fact I started a science degree – but when that didn’t work out, I applied to a Foundation Diploma course and it was there that I was briefly introduced to metalwork techniques. I have always enjoyed making things and drawing, and the miniature scale of jewellery attracted me enough to want to do a BA in the subject. I was lucky enough to be able to study at CSM and then take an MA at the Royal College of Art; my practise has evolved naturally and I have never had a plan for what I think I should be doing!

I started teaching Short Courses whilst I was doing my Masters and started teaching part-time on the BA Jewellery course not too long after; I attribute the breadth of my knowledge to having to find things out so that I could teach them! This knowledge has allowed me to write three technical jewellery books which have gone on to be translated into seven languages. I am still constantly learning though, and think that one of the best aspects of jewellery-making is that there is always something new to learn in terms of techniques, materials, history, culture and theory – it is a very large subject field.

I am also on the Board of Directors of the Association for Contemporary Jewellery, which is a members’ organisation dedicated to the promotion of contemporary jewellery. We organise exhibitions of members’ work, conferences and publish a bi-annual magazine of which I am the Technical Features Editor.

Studio © Anastasia Young

Tell us about your work.

My time is divided between teaching and my own studio practise, in which I work on private commissions and project-based or exhibition pieces. It was never my intention to become a commercial jeweller, although I do sell jewellery and jewellery-making tools through my online shop.

My jewellery is usually influenced by one of several recurring themes – the most prominent of which is mechanical forms. I am probably best know for my Machina Collection, and it is this style that I am usually commissioned to make. For this work, I am recycling components from broken machines such as cameras and cassette players by transforming them directly into silver or gold, and combining them with handmade elements and semi-precious gemstones. I have a very particular aesthetic for this work and like to use chemicals to colour the silver to give it a sense of age.

© Anastasia Young

What are you working on at the moment?

I’m between two projects at the moment. I’ve just started writing my fourth technical jewellery book which is about a particular metalworking technique that my partner Paul Wells (also a Short Courses tutor) has been developing. It’s already a fascinating project, as Paul is breaking new ground with his technical processes and I am excited to see it develop further.

I am also finishing up the collaborative project that I have been working on with photographer Lindsay Cameron – The Lily Holds Firm. We started the project in 2013, and I don’t think either of us imagined that it would take nearly five years to complete! Using nineteenth century funeral cards as our starting point, we have recreated scenes depicted on the cards. This has meant making physical representations of many of the objects illustrated in these engravings, to scale, and combining them with found objects to build dioramas which we have photographed.

More images of the original cards and the pieces I’ve made inspired by them can be explored at www.thelilyholdsfirm.com.

© Anastasia Young

© Anastasia Young

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

The pieces I have in the exhibition are all from the project The Lily Holds Firm. The Hearts on Chains were made for Card Number 2: The Sacred Link. This piece is the focal point of the whole image and it took several months to complete. Every heart is formed from flat copper sheet, and every link in the chain was made by hand from twisted square brass wire – these are the techniques which I am demonstrating in the video accompanying the exhibition.

The Glory Bangles are made from cast epoxy resin which I have custom dyed. I created them by taking a mould from chandelier crystals, allowing me to recreate many copies in a range of colours. These pieces are used in many of the images in the project, usually blending into the background, so it has been interesting to see them displayed as pieces in their own right.

© Anastasia Young

Which piece of creative work, in any discipline, do you think everyone should see and why?

I tend to enjoy immersive environments more readily than isolated artworks in a gallery context. I find inspiration in collections of objects or curated spaces because I can relate to the narratives behind and between the pieces more readily when they are in conversation with each other. Places that allow you to soak up the atmosphere, such as the Pitt-Rivers Museum, Sir John Soane’s Museum, Dennis Sever’s House or the Isabella Stewart Gardner Museum in Boston are just perfect.

© Anastasia Young

If you like what you see, take a look at one of Anastasia’s many amazing courses! There are upcoming dates in her Experimental Jewellery, Stone Setting in Silver Jewellery, Jewellery Making for Beginners, and Jewellery and Wax Carving courses. If you enjoy her work, why not pay a visit to her website, or follow her on Instagram, Twitter or Facebook.

Today we are having a chat with Designer & Short Course Tutor Kangan Arora about her work and her items featured in the short course exhibition

© Kangan Arora

What is your full name and what short course/courses do you teach?

My name is Kangan Arora and I teach some of the Textiles courses here at Central Saint Martins. Summer Study Abroad – Textile Design course, a 3 week intensive summer programme and Screen Printing for Interior Fabric Design, Textile Design Workshop, and Screen Printing on Fabric Workshop (Weekend).

© Kangan Arora

How did you come to work in your field/discipline?

After completing a degree in Fashion Design from NIFT, India I moved to London in 2005 to study on the BA Textile Design at Central Saint Martins, where I specialised in Printed Textiles.

After gaining some experience at a small design studio in South London, I launched my own brand – Kangan Arora – initially designing and making a small collection of soft furnishings that I took to design trade shows to sell. That was back in 2011, and since then the studio has grown a lot and now focuses on design collaborations

Studio © Kangan Arora

Tell us about your work

I run a design studio in South London producing small editions of soft furnishings as well as collaborating with various companies. I’ve designed bedding for Urban Outfitters, limited edition cushions for Heal’s, rugs for Floor_Story and packaging for REN skincare; so the work is quite varied.

My work is driven by a love of craft, colour and geometry and that’s a vein that runs across all the projects.

Kangan Arora X Floor_Story Loha © Kangan Arora

Where do you get your inspiration from and how do you stay inspired?

Inspiration comes in so many forms, but mostly just being in the cultural hotpot that is London. I visit a lot of galleries and exhibitions, meet a lot of interesting people (including the students here!). My main inspiration however, remains India, my home that I visit at least once a year.

What are you working on at the moment (if anything)?

I’m prepping for a 2 week workshop I’m teaching this September in Japan at the Kyoto Design-Lab. I’m also prepping for a Christmas launch of a collection I designed last year for a large design company. Unfortunately I’m not at liberty to say who at this stage but watch this space!

Fluorescent Forest © Kangan Arora

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

The cushions are from my 2015 collection, Fluorescent Forest. I thought it would be fun to show some of the process behind the making of the prints so you can see the original artwork, the screens and a short video of me printing the design.

Which piece of creative work, in any discipline, do you think everyone should see and why?

I think everyone should watch Wong Kar Wai’s In the Mood for Love, it is one of the most beautiful films I’ve ever seen. Each frame is like a still photograph or a renaissance painting, I think it’s a great study in film, photography, art, painting, costume and colour.

Shapescape © Kangan Arora

Shapescape © Kangan Arora

What is the best bit of advice you have ever received?

Be the last man standing.

What advice would you give to aspiring creatives?

Be curious, invest in yourself, be resourceful and just say yes!

Studio © Kangan Arora

Studio © Kangan Arora

Studio © Kangan Arora

Studio © Kangan Arora

© Kangan Arora

© Kangan Arora

Ren X Kangan Arora © Kangan Arora

© Kangan Arora

A video documenting Kangan’s collaboration with REN, which was shown in the exhibition, is available to watch below:

Like what you see? Take a look at some of Kangan’s upcoming courses – upcoming dates are available on her Screen Printing for Interior Fabric Design, Textile Design Workshop and Screen Printing on Fabric Workshop (Weekend) courses.

Enjoy Kangan’s work? See more on her Website or Instagram.

Today we are talking with CSM Short Courses life drawing tutor, David Price, to learn more about his work in the CSM Short Course exhibition and to get a more in-depth look at his own artistic practice.

What is your full name and what short course/courses do you teach?

I’m David Price and I teach Creative Life Drawing, Life Drawing Masterclass – Head, Hands and Feet (Weekend), Anatomical Portrait Drawing, Life Drawing for 16 to 18 Year Olds and Anatomical Drawing for Beginners.

©David Price

How did you come to work in your field/discipline?

I studied life drawing and anatomy when I was a student at Edinburgh College of Art when it was part of the curriculum. It was a rigorous course with an exam at the end  and probably wouldn’t be popular now as it was old fashioned and formal. Still, I did learn a lot and it has come in quite useful again because it is no longer taught in art schools. I have been teaching drawing now for over 25 years and have taught all over London including at the V&A, Tate Modern, Royal Academy and now at Central Saint Martins Short Courses. I try hard to make my courses relevant and fun and not much like the ones I did. People still want to draw people and I’m happy to help them if I can.

©David Price

Tell us about your work, where you get your inspiration from and how do you stay inspired

Like many artists, I have a broad practice doing different things at different times. Painting and Drawing are central to all I do. I also have a studio in Margate where I make work when I’m not teaching. I moved there 5 years ago – but I still show my work through a London gallery.  I am currently working on paintings for a solo exhibition next year so I’m making some huge oil paintings on canvas. Inspiration takes many forms – but as someone once said – it always finds you when you are working.

©David Price

What are you working on at the moment?

My gallery has a new space in West London with big walls so I’m making some big paintings – much bigger than any I’ve made before. Size isn’t everything but it’s a great challenge to make bigger work and it’s pushing me to do things I haven’t tried before. I’ve been experimenting with a faster drying alkyd oil paint which is helping me to work quickly. This in turn has led me to make much bolder paintings that haven’t sat around drying for ages whilst I lose interest in them. Everything – even the large ones – is painted in a day or two, and this makes them very exciting to work on.

©David Price

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

Since most of my teaching at CSM Short Courses is life drawing, I made some drawings as I might do in one of my classes. I wanted people to see me work and see if the course is for them. Life Drawing is almost always fast as the model can only hold the pose for short periods. I like this about these drawings – they were all made quickly whilst I was filmed, so that added to the tension. It was good fun.

© David Price

Which piece of creative work, in any discipline, do you think everyone should see and why?

I’m not sure there is one thing everyone should see as we all like different things. Often, famous paintings when finally seen are a little disappointing in real life – so I think it’s better to be surprised by things and open to new creative works. I have seen a great deal of art work – all over the world – but you can’t really predict when that feeling of being inspired will come. But if you keep your eyes open you’ll see some wonderful things and you don’t usually have to go too far.

©David Price

What is the best bit of advice you have ever received?

I think it was, “Don’t be an artist” My natural inclination to do the opposite has kept me going all these years.

©David Price

What advice would you give to aspiring creatives?

I’d say, don’t be afraid to change and try new things. Most people, despite what they might say, are worried about trying new things and fear they might lose what they can do already. But it’s not true. You can go backwards and forwards and even sideways. It doesn’t matter where you start or how you get there. Nobody cares more than you – so trust your instincts and lead the way.

Watch David’s Exhibition Video below:

If you like what you see, check out David’s upcoming short courses, Creative Life Drawing, Life Drawing Masterclass – Head, Hands and Feet (Weekend), Anatomical Portrait Drawing, Life Drawing for 16 to 18 Year Olds and Anatomical Drawing for Beginners. Want to see more? See all available CSM Short Courses courses starting soon.

We interviewed short course tutor and professional Milliner Jane Fryers about her work in the exhibition, what inspires her, and her advice for aspiring creatives.

What is your full name and what short course/courses do you teach?

My name is Jane Fryers. I teach Millinery Workshop at Central Saint Martins where even complete beginners can make at least two hats in a week, and more experienced milliners can learn new techniques.

Jane Fryers ⓒJane Hilton

How did you come to work in Millinery?

I made my first hat on a Saturday course 20 years ago at London College of Fashion and fell in love with millinery. In 2005 I was awarded a scholarship by the Queen Elizabeth Scholarship Trust to study with Rose Cory MBE, the late Queen Mother’s milliner.

Blanchette Hat
photographer @jonbusby66
model @lady_sj__
make up @sydneebeth

Tell us about your work.

I have always been drawn to working with recycled materials. My Rechauffe Collection of hats with a past brought a stream of clients with pre-loved items of clothing that they ask me to turn into couture hats. I won Capelli nel Mondo with an old Costelloe jacket and came second in the Feltmakers Competition with two tatty felt hats which I sculpted into roses.

Spanish Harlem © Jane Fryers

Where do you get your inspiration from and how do you stay inspired?

Materials usually inspire my work, for instance I was asked by a film-maker to create a hat for her to wear to Ascot. I used a traditional millinery braiding technique to fashion a hat out of 35mm film. She made a film as I created her hat.

I stay inspired by meeting lots of people from many different backgrounds and being open to working with them to create something they want to wear.

Film Hat © Jane Fryers

What are you working on at the moment?

One of my favourite clients is an artist for whom I have designed several hats. The first, Vintage Bohemia, was made from tiny off-cuts of striped stair carpet trim, which is possibly the most difficult material I have worked with. My client now has dread-locks, so her head-size has increased. My hat-stretcher has done all it can…so I’m working on a plan!

Vintage Bohemia Hat © Jane Fryers

Making of Vintage Bohemia Hat © Jane Fryers

Making of Vintage Bohemia Hat © Jane Fryers

Making of Vintage Bohemia Hat © Jane Fryers

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

My passion is fish leather. I came across it many years ago and have been using it to make couture hats ever since. I travel the world teaching milliners how to work with this fabulous, versatile material.

The work I have submitted is a version of a hat I made to be included in a book of 100 craftspeople that is being published later this year. I used a combination of a relatively new thermoplastic along with the more traditional buckram to make the block (the form used to produce the hat). Keeping the shape simple allows the beauty of the fish leather to shine. The emerald green leather is Indonesian Tilapia fish, the purple flowers are sculpted from Chilean salmon and the silver green stalks and leaves are made from Icelandic cod.

Which piece of creative work, in any discipline, do you think everyone should see and why?

For me it has to be the timeless Michaelangelo’s David at the Accademia Gallery in Florence. The crowd of spectators around you melt away as you look at his simplicity and strength.

What is the best bit of advice you have ever received?

My millinery tutor advised me to apply for a QEST scholarship that totally changed my life.

Fish Leather Beret
photographer @jonbusby66
model @jemimahnicolle
make up @sydneebeth

What advice would you give to aspiring creatives?

Follow your heart, and always remember that you can learn something from everyone you meet.

Jane Fryers and the Queen © Jane Fryers

Fish with Fish Leather ⓒKatya de Grunwald

Fish Leather Swim Hats
photographer @jonbusby66
models@lifeandsoulof.tammy & Didi
make up @sydneebeth

If you want to keep track of Jane’s work, you can follow her on Facebook and Instagram (@janefryersmillinery) or visit her website.

Feeling inspired? There are still a few places left to book on Jane’s Millinery Workshop course starting soon. Act fast before it’s too late!

We interviewed Fashion Director Kristine Kilty to find out more about how she got started and ask for any advise she would give to aspiring creatives.

What is your full name and what short course do you teach?

Kristine Kilty.  I teach three courses for Central Saint Martins Short Courses: Fashion Styling for Beginners, Conceptual Fashion Styling and The Fashion Industry: Careers and Inspiration

How did you come to work in your field/discipline?

I studied Fibre Art, which is a combination of Fine Art and Textiles.  After this I moved to London to study a BA in Textile Design at Central Saint Martins, followed by numerous industry placements and an MA in Fashion Design at Central Saint Martins.  During the MA, I realised I didn’t want to design anymore and I wasn’t sure how I could use the skills I had learnt along the way.  By chance I landed a job at Vivienne Westwood, where I was exposed to styling clients and celebrities for red carpet events, where I also got to meet a lot of other stylists, journalists and creatives.  I was encouraged by Gwen Stefani to follow the path to becoming a stylist.  After this, I just woke up one day, no portfolio, no contacts and decided I was going to become a Fashion Director that works internationally….and made it happen with hard work and determination.  And the rest is history!

Fashion Editorial for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (July 2018)

Tell us about your work.

I work as a Fashion Director/Stylist, predominately working with high end luxury brands.  I live in London but spend a lot of time in Paris, New York, LA and China.  I am lucky enough to have a really varied client base, so I get to work on everything from fashion editorials, advertising campaigns, music videos, TV, live music performances, exhibitions, celebrity portraits and creative collaborations.  I’m a stylist that works to a brief, so I can adapt my style to fit the client.  My personal taste gives a nod to my background in textile design, and I love to mix as much colour, texture and print as possible!

Fashion Editorial for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (July 2018)

Where do you get your inspiration from and how do you stay inspired?

The 1940’s, film, music videos from the 80’s and 90’s, people watching and art exhibitions.

To stay inspired I surround myself with people who have a different creative approach and who challenge me, such as my boyfriend Adam who’s brain is a film reference encyclopedia and he gives me great references to explore.  My best friend Portia who owns POP PR,  constantly introduces me to new designers and collections; and my long term creative collaborator Mike Ruiz who is one of the most talented photographers I have ever met.  And of course, the students I work with at CSM keep me inspired!

Fashion Editorial for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (July 2018)

What are you working on at the moment?

I am just about to return to Paris to spend a few days shooting Haute Couture. 

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

This is a lookbook shoot that I did in China for a client called Toyouth.  The brand is really well known in China and for this lookbook they wanted to change direction with the creative so it was great to do something a little different.  I worked with my long term collaborator, Mike Ruiz, who is an amazing photographer/director from New York.  Myself and Mike work a lot together, we constantly bounce ideas off each other and he pushes me to challenge myself creatively.  When we come up with ideas we are always on the same page and trust each other’s vision.  

Which piece of creative work, in any discipline, do you think everyone should see and why?

Tough question… there is just so much brilliant work across all disciplines to mention. I recently spent the day at the Pompidou Centre in Paris and it is filled with modern art, everything from Kandinsky to Matisse. So many of the pieces that are in the permanent collection are globally recognised and presented all under one roof. It’s incredible! The Pompidou Centre currently has a great exhibition called UAM (Union of Modern Artists), which presents film, furniture, painting, sculpture, industrial design, textiles, interior design, cars and more! The centre in itself is a must-see.  

Lewis Hamilton for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (October 2016)

What is the best bit of advice you have ever received?

Never give up. Never complain that you are tired. And to remember the person booking you for the job may not be a creative, they might have a corporate position, so you need to come across business focused and organised no matter how conceptual your ideas may be. 

Lewis Hamilton for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (October 2016)

What advice would you give to aspiring creatives?

Collaborate with as many other creative’s as possible, even if it’s in a completely different discipline. By challenging yourself and working in different ways, you will push your work further.

Lewis Hamilton for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (October 2016)

Feeling inspired? Get started straight away – There are a couple of spaces left on Kristine’s summer school courses! Fashion Styling for Beginners, Conceptual Fashion Styling, and The Fashion Industry: Careers and Inspiration. If you want to see more of what Kristine is getting up to, follow her on Twitter or Instagram.

Our Summer School runs from 25 June to 14 September 2018. View all upcoming Summer School courses now! Our full course schedule is available until June 2019, so there is sure to be something for everyone. To see what students are getting up to in the classroom now, have a look at #mycsm on Instagram. You can also follow us @csmshortcourses on Instagram and Twitter. Better yet, join our mailing list to receive the latest news and updates from the Short Course team.

The CSM Short Course Exhibition 2018 is open to the public until 5 September 2018. If you are in London come see us and check it out!
1 Granary Square, London, N1C 4AA

We interviewed professional Milliner and short course tutor Judy Bentinck about her work in the exhibition, where she finds inspiration and her advice for aspiring creatives.

Judy Bentinck – Hitomi 1. Photo © James Champion

What is your full name and what short course do you teach?

My name is Judy Bentinck, I teach the Millinery Workshop.

How did you come to work in your field/discipline?

I originally trained as a textile designer (printed textile design) at Liverpool College of Art. After college I worked in period costume design and making, both for theatre and film. It was working with pattern-cutting that made me interested in thinking and creating three-dimensionally. Later I trained in the craft of millinery with Rose Cory, who was the Queen Mother’s own milliner. With Rose I learned the secrets of traditional couture millinery, gaining an appreciation for true craftsmanship, well-balanced design and exquisite detailing.

Judy Bentinck – Hitomi. Photo © James Champion

Tell us about your work.

I specialise in bespoke hat commissions for events as diverse as royal garden parties, investitures, race days and weddings. I enjoy producing a wide variety of hat styles, including large brims, cocktail hats and delicate headpieces. My hats are both beautiful and accessible, and with over 18 years’ experience in creating special occasion headwear, I can provide expert advice to complement my client’s chosen outfit for the day.

Where do you get your inspiration from and how do you stay inspired?

My current collection is inspired by a recent visit to Japan, in particular textile motifs and repeat floral patterns seen on traditional and contemporary kimonos. Such a rich and exciting visual resource, I expect it will inspire many more collections to come! The visual exploration of gathering textile samples, sketching and collaging is at the core of the hat collection.

I do travel regularly and experiencing new cultures is always a great source of inspiration.

Alexandra Burke wears hat by Judy Bentinck

What are you working on at the moment?

This season I’ve completed several hat commissions for Royal Ascot. One of them was a bold black sequinned fabric and sinamay headpiece for singer/performer Alexandra Burke, who looked stunning as she presented the Trophy during Ladies’ Day for the Norfolk Stakes to jockey Joel Rosario and trainer Wesley Ward.

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

I chose two contrasting hats in order to showcase the range of classic millinery techniques which will be taught on the millinery workshop here at Central St Martins.

• An organza parisisal button cocktail hat with three dramatic upright curled Lady Amhurst  feathers and small pheasant feathers.
• An exuberant emerald green sinamay cocktail hat, decorated with sculptural Calla lilies and peacock feathers.

Judy Bentinck – Fuuna. Photo © James Champion

Which piece of creative work, in any discipline, do you think everyone should see and why?

I think everyone should see J.M.W. Turner’s paintings up close – they can be seen in the collection of Tate Britain in London. The lighting and his vision, his use of colour and paint are incredible. By looking at his work, each individual will experience a distinctive mood and emotion.

What is the best bit of advice you have ever received?

My father told me that when creating a piece of design, if you think a line doesn’t look right, then you should trust that instinct. To this day I still adhere to this.

What advice would you give to aspiring creatives?

Focus on your goals, be persistent and tenacious!

Judy Bentinck – Harumi. Photo © James Champion

Judy Bentinck – Michiyo. Photo © James Champion

Judy Bentinck – Sanae. Photo © James Champion

If you want to keep track of Judy’s work, you can follow her on Twitter (@judybentinck) or visit her website.

Feeling inspired? There are still a few places left to book on Judy’s Millinery Workshop course starting at the end of July. Act fast before it’s too late! View all upcoming short courses on our website.

We are really pleased to be back in the Lethaby window gallery for 2018 with a CSM Short Course exhibition highlighting the work of our amazing tutors!

This year we worked with Hugo Lucien Bou-Assaf, a recent Central Saint Martins BA (Hons) Culture, Criticism and Curation graduate. Hugo brought together the work of some of our tutors and has managed to showcase a diverse range of subject areas and expertise.

Contributing tutors:

• Kangan Arora
• Judy Bentinck
• Jill Entwistle
• Jane Fryers
• Alexander Hinnerskov
• Kristine Kilty
• Sean Myers
• David Price
• Anastasia Young

The exhibition is open from 12 July – 5 September 2018 in The Crossing, at our Granary Square building and is open to the public. 1 Granary Square, London N1C 4AA

We hope you will come see us this summer! Stay tuned in to the blog to read interviews with Hugo and all contributing tutors throughout the summer.

Our Summer School runs from 25 June to 14 September 2018. View all upcoming Summer School courses now! Our full course schedule is available until June 2019, so there is sure to be something for everyone. To see what students are getting up to in the classroom now, have a look at #mycsm on Instagram. You can also follow us @csmshortcourses on Instagram and Twitter. Better yet, join our mailing list to receive the latest news and updates from the Short Course team.

A look at the work of the CSM Short Course exhibition, which aimed to highlight the talent of the tutors who teach on our short courses and reach a wider audience. Short Courses are designed for students of all levels that are interested in learning new skills or improving some particular aspects in their area of expertise.

We spoke with curator, Angela Sanchez Del Campo, to get a behind the scenes look at putting together the Central Saint Martins Short Course Exhibition.

CSM Short Course Exhibition

The exhibition provided an excellent opportunity to showcase the work of some of our tutors and give potential students a sense of the type of work that they could make during a CSM Short Course. When talking about art and design courses, looking at the objects and watching the making process are the most efficient ways to explain what it is about.

The remaining three windows to discuss showcase the works of our tutors Simeon Featherstone, Elisabeth Roulleau, Vincent Woodcock and Anastasia Young.

Simeon is a former student of the BA Ceramic Design at Central Saint Martins, where he specialised in ceramics and casting. He has a particular interest in the creation of working models and moulds and in the use of clay. Simeon describes ceramics as an amazing form of art, which requires patience and craftsmanship. He looks towards diverse shapes and colour in his ceramics, which involve different techniques and levels of expertise, from moulding to thrown ceramics and glazing.

CSM Short Course Exhibition ©Simeon Featherstone

“My practice is an important balancing act between enriching the project through participatory and collaborative partnerships, and still maintaining the craft and quality that is essential when working with a material such as clay. The benefits of working with such a versatile and age old material its that you can always find new ways of adapting and interpreting it to tell the stories that are necessary today.” – Simeon Featherstone

CSM Short Course Exhibition ©Simeon Featherstone

The coats embroidered by our haute couture embroidery tutor, Elisabeth Roulleau, are excellent examples of a technique, which involves precision, patience and concentration. The ‘caviar’ coat, as she likes calling it, exhibited in this window, and the second coat, exhibited two windows further, are examples of some of the techniques the students learn in her classes. Both pieces show how a simple garment can be enhanced by the use of embroidery.

CSM Short Course Exhibition ©Elisabeth Roulleau

Elisabeth Roulleau has an extensive background in embroidery with years of experience in teaching. After completing her studies in the Lesage School in Paris, which is one of the most prestigious embroidery schools in the world, she opened her own studio in Lyon and taught embroidery in a variety of institutions.

CSM Short Course Exhibition ©Elisabeth Roulleau

As a professional embroiderer, she has been commissioned to create work for Dior, Chanel and Hermes. The samples created by her students in class are a rich combination of different techniques, which students can apply in a variety of ways to their own fashion designs.

CSM Short Course Exhibition ©Elisabeth Roulleau

The work of Vincent Woodcock occupies the next window of the exhibition, showing a wide variety of his practice. He teaches animation, character design and cartooning at Central Saint Martins where he passes on his extensive and rich experience to his students. He has worked for Disney and Warner Bros. production as well as Cartoon Network and other theatrical and TV animated productions.

CSM Short Course Exhibition ©Vincent Woodcock

The works he  exhibited was from a series of blues musicians and caricatures of celebrities, comic-strips, self-portraits and quick sketches that he has drawn of his students working while on their short course. His work could be classified by theme but also by technique. Vincent provides examples that showcase a variety of  different materials, including ink, gouache and pencils and illustrate his great expertise at drawing.

CSM Short Course Exhibition ©Vincent Woodcock

Finally, the last pieces on display in the exhibition are the jewellery pieces by Anastasia Young, jewellery designer and artist.

She teaches several short courses in jewellery and is a tutor on the BA Jewellery course at Central Saint Martins. Her research in jewellery is commendable and her books about jewellery materials and techniques are important industry references.

CSM Short Course Exhibition ©Anastasia Young

The pieces on display show samples of the type of pieces that students learn to create in her courses, Jewellery for Beginners, Experimental Jewellery, Stone Setting in Silver Jewellery, Tube Setting Jewellery Weekend and Jewellery Making with Plastic and Metal.

CSM Short Course Exhibition ©Anastasia Young

CSM Short Course Exhibition ©Anastasia Young

The exhibition also included a video showing larger images of the work on display, as well as other pieces designed and produced by Anastasia. Her work is characterised by the creative design, impressive execution and great knowledge of jewellery techniques.

CSM Short Course Exhibition ©Anastasia Young

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From a curatorial point of view, it was a pleasure to work with a diversity of objects for this exhibition. Different textures, shapes and mediums,  allowed us to showcase a visually attractive composition full of contrasts. By selecting these pieces from different disciplines, we aimed to give an insight of the real objects that can be produced by students after learning the techniques taught in our short courses.

The challenge for us was to select from our amazing short course tutors, from across different practices and then, choose a selection of their work to show. We tried our best to represent what can be learned while studying on short courses, however, it was impossible to include something from all of the 800+ short courses that CSM runs every year.

It can be difficult to describe art and design with words, so by using the Window Gallery in The Crossing at CSM, we had a great opportunity to show students and visitors the talent of our tutors and the wide range of techniques taught in some of our short courses.

Angela Sanchez Del Campo

Angela is originally from Spain and has a BA in Design and Management of Fashion and a BA(Hons) in History of Art from her studies in Seville, as well as an MA in Curating and Collections from Chelsea College of Arts, where she graduated in 2016. She has also studied on short courses at the London College of Fashion and worked as a freelance costume designer for The National Theatre and The Secret Cinema. Angela has co-curated a number of exhibitions of commissioned contemporary art, as well as, archival objects and collections in London. You can follow Angela on Instagram, www.angelascm.com, or read more on the Chelsea College of Arts blog.

For further information and to book your place on an upcoming course visit the Central Saint Martins Short Courses website.

The CSM Short Course exhibition aimed to highlight the talent of the tutors who teach on our short courses and reach out to a wider audience. Short Courses are designed for students of all levels that are interested in learning new skills or improving some particular aspects in their area of expertise.

We spoke with curator, Angela Sanchez Del Campo, to get a behind the scenes look at putting together the Central Saint Martins Short Course Exhibition.

CSM Short Course Exhibition

The exhibition provided an excellent opportunity to showcase the work of some of our tutors and give potential students a sense of the type of work that they could make during a CSM Short Course. When talking about art and design courses, looking at the objects and watching the making process are the most efficient ways to explain what it is about.

CSM Short Course Exhibition ©Alexis Panayiotou

The first and last windows of the show feature two fashion illustrations that were commissioned for the exhibition by Alexis Panayiotou. Alexis is a talented fashion illustrator who teaches not only on short courses, but also for the BA Fashion students at CSM. Alexis, who often finds inspiration during the process of making work, explains that he created these two illustrations to demonstrate the kind of exercises he does with his students in the short courses, but in a much larger scale.

“I wanted to produce some figures that reveal the working of the drawing; like an anatomy diagram you can see the ‘innards’ of the figure in layers from the initial basic skeleton, the basic shapes of the figure either drawn or using collage, and then details like print and the face, although not always necessarily in that order .” – Alexis Panayiotou

CSM Short Course Exhibition ©Alexis Panayiotou

The exhibition also includes a time-lapse video showing the making of both illustrations. This video, which can be seen below, offered a great opportunity to appreciate his technique and the step-by-step process.

The next window exhibits a series of four photographs by Karl Grupe and an illustration commissioned by Oliver O’Keefe, along with some of his sketchbooks.

CSM Short Course Exhibition

Karl Grupe, is a photographer who defines himself as ‘obsessed by the narrative formed from disrupting patterns’ and is interested in capturing images which involve an alchemy of improvisation, risk, reflection and narrative passing through the portal of photography. The four photographs exhibited are part of a series called ‘a harsh land’, which uses the genre of landscape to explore classic photographing rules which step outside of the professional doctrine of landscape photography.

CSM Short Course Exhibition ©Karl Grupe

“a harsh land explores the deconstruction of the visually perfect, opening up to the potential brutality of the camera’s eye and allowing for a ‘beautiful ugly’ to take over and resonate from the raw ingredients of the photographic process. The results are hard, unexpected and raw. They are perfectly imperfect.” – Karl Grupe

The next work, commissioned to Oliver O’Keefe, shows a sample of what he teaches his students in class. His courses are designed to focus on what the student does as an image maker and find ways to help them progress. Oliver likes setting a number of briefs during the course; some of which are industry focused, like book covers, while others are more probing, asking questions about illustration and what it can be.

CSM Short Course Exhibition ©Oliver O’Keeffe

The inclusion of some of his sketchbooks also gives an idea of his style and how his imagination works toward creating a physical image from an idea.

Oliver also teaches on the BA Graphic Design at Central Saint Martins. He is an illustrator interested in stories, with a particular passion for comics from an early age. He has been working for the last 3 years on an illustration project called 52wordsayear.com with three other illustrators. The project consists of responding to a word with an illustration every week.

That summarises the first part of the exhibition. I’ll be back later in the week with Part 2 of my curatorial review to highlight the work of Simeon Featherstone, Elisabeth Roulleau, Vincent Woodcock and Anastasia Young.

Angela Sanchez Del Campo

Angela is originally from Spain and has a BA in Design and Management of Fashion and a BA(Hons) in History of Art from her studies in Seville, as well as an MA in Curating and Collections from Chelsea College of Arts, where she graduated in 2016. She has also studied on short courses at the London College of Fashion and worked as a freelance costume designer for The National Theatre and The Secret Cinema. Angela has co-curated a number of exhibitions of commissioned contemporary art, as well as, archival objects and collections in London. You can follow Angela on Instagram, www.angelascm.com, or read more on the Chelsea College of Arts blog.

For further information and to book your place on an upcoming course visit the Central Saint Martins Short Courses website.

Central Saint Martins Short course exhibition series.

We interviewed ceramicist and specialist technician Simeon Featherstone about his work in the exhibition, where he finds inspiration and his advice for aspiring creatives.

What short courses do you teach?

I teach Ceramics for Beginners, Intermediate Ceramics, and Experimental Glazing, the final frontier of ceramics.

Glaze samples

How and why did you become a ceramic practitioner?

I have a broad practice that involves ceramics and public participation. I see teaching and education as an important part of that process, especially as ceramics is a crafts subject and therefore requires technical instruction.

Simeon Featherstone

Where do you get your inspiration from and how do you stay inspired?

My inspiration and motivation comes from listening to people from all walks of life and finding ways to communicate and tell stories through craft. When working with different communities, you realise that everyone is different but often have similar stories to tell, or shared feelings and emotions. I try to reflect that when I’m working alongside them.

What are you working on at the moment?

I’m currently developing new tableware for my shared practice, Parasite Ceramics. We are producing all of our wares in-house, and re-introducing more of a craft perspective. We sell tableware as commemorative pieces for the social projects we do.

Tell us about your work in the Central Saint Martins Short Courses exhibition.

There are two collections of work on display. One is for a project last year in Barking called Open Estate. I worked with residents from the Gascoigne housing estate during a period of uncertainty as the buildings were being replaced and many of the residents were rehoused. Residents helped to design and produce the pieces and we used local clay from the site to add colour and texture to the pieces.

©Simeon Featherstone, Open Estate

The second collection is a commission for the Royal Institute of British Architects (RIBA) and artist Giles Round. I produced the forms for ‘We Live in the Office’, an exhibition about the evolving nature of architectural facades and how we appropriate buildings over time. The ceramic forms were painted by underglaze painters at the RIBA gallery with the public choosing the designs from a sourcebook.

©Simeon Featherstone, We Live In The Office

Which piece of creative work, in any discipline, do you think everyone should see and why?

Let’s keep it clay. So something out of the norm might be Paso Doble, by Nadj and Barcelo. A clay-based performance using the material as canvas and the body as a tool.

What’s the best bit of advice you have ever received?

Keep it simple.

©Simeon Featherstone

What advice would you give to aspiring creatives?

Forge your own pathway. Find your voice and stay committed to it. Over time you’ll have a body of work and the overarching narrative of that work is you and your passion.

More of Simeon’s work can be viewed on his website, Parasite Ceramics and blog. He teaches a range of short courses at Central Saint Martins, including Ceramics for Beginners,  Intermediate Ceramics, as well as Experimental Glazing, the final frontier of ceramics. Further details on all of our courses can be found on the Short Course website. Read more about Simeon on the CSM website.