Another solution is to use your home to show work. Clearing some wall space and hanging a show – taking the endeavour seriously – and inviting friends and fellow students to an opening will help you think about your work differently. It could also lead to you curating a small group show in the same space.
Although all the artists have fascinating things to say, as a creative writer I prick up my ears when writers are talking, to see if I can pick up any tips, or just have that moment where you think…yes, that’s so true!
As part of the #weareoca30 campaign we are having creative conversations with some of our tutors. Watch and listen to OCA Programme Leader for Textiles, Rebecca Fairley, answering questions from students.
Watch OCA tutor Beth Dawson below in our latest Creative Conversations video.
As part of the #weareoca30 campaign we are having creative conversations with some of our tutors. Watch and listen to OCA Photography tutor Les Monaghan below answering questions from students.
Throughout the time that David has been emailing his work to me I have been impressed by his organisational skills, the development of his written and visual work and his willingness to take on board my suggestions for developing the work.
It would be fantastic if we could make a living taking only the photographs we wanted, expressing our vision through our own personal work, just like the artists that we look upon for inspiration. Unfortunately, the majority of us still have bills to pay.
“I think piece titles are very important! A piece should drape naturally from its title, in the same way a coat hangs off a peg. I often find the music suggests a title, which certainly happened in Summer Anthem, with the title drawing upon the generic association of dance music with the summer season and of this genre with club ‘anthems’, this term often indicating a big hook.”
Piers is, along with pianist Christopher Guild, a founding member of The Edison Ensemble and is currently a PhD student at the university of Brunel studying with Professor Peter Wiegold. Much of his recent music utilises the radio.
If you could meet your favourite creative practitioner, what would you ask them? Work-related learning, such as visits to studios, conversations with practitioners, or more involved relationships through live projects and placements, all offer direct ways to help inform your knowledge and understanding of your discipline.
My work is about how meaning gets made. I’m interested in how narratives become dominant, how power structures evolve, and what roles pop culture, literature, and art history play into this. From early on I’ve collapsed what I see out there with what I’ve created internally — an overlapping of cultural and personal narratives. I try to question how those cultural narratives are structured and unfolded, and how they shape our experiences.