What makes this particular student’s yarns so exciting is that she has clearly been inspired and demonstrates so well that she has been stimulated by her source material. Whether this is her secondary research in the form of a medieval artwork or her primary research in the colour studies of glass vessels, there are clear links and reference points between her work and its creative source.
OCA students Jeremy Scott and Sarah Youseman are holding their graduation show in June. Students of all levels are invited to the gallery to look at the show and meet the artists on Saturday 9 June who will answer questions on what it means to work at Level 3 and curate a joint exhibition.
I clearly remember my fears and anxieties when I had to face the first assignment of Identity and Place: photographing strangers. A totally new situation for me – and for some fellow students facing such assignment – and that required some ingenious strategy to carry out the mission successfully.
In this blog post I will be drawing to your attention and discussing the work of Textiles 3: Advanced student Jill Hodgkins. Jill has recently completed this unit and as part of the course she exhibited her work in a local gallery.
As part of her Exploring Drawing Media course OCA student Susan Askew is asking for your help in fulfilling her project idea for the exercise to draw a line in a space so that it impacts on the space.
Barbara Henderson, programme leader, tutor and assessor for Creative Writing, looks at the flash fiction work of Eve Turner on her level 3 (HE6)…
The basic aim is that your work looks coherent and that the assessors can effortlessly navigate it. It may take you a couple of assessment events to get this right but as you progress through the degree programme, repeatedly sending work for assessment you will develop and perfect ways of organising your work.
Sketchbooks are personal and can reveal much about how a student goes about the business of discovering and learning. I like to see books that are bursting with work as it is generally evidence of a submission full of speculation and discovery.
It has given me the confidence to believe in my work and my ability as a composer, justifying the efforts I made in the writing, developing and refining this score. Also, as mentioned above, it fulfilled my dream of hearing one of my compositions performed live, by other musicians.
OCA Visual Communications tutors and assessors look at the work of Brian O’ Carroll, Harry Kidd and Lina Homer.
If you aren’t too busy and find yourself at a loose end in New York, the exhibition runs until the 25 January, and as an added bonus, for the same entry fee you can see the “Demoiselles d’Avignon” by Picasso, “Starry Night” by Vincent and a host of other modern masterpieces too numerous to mention, five floors above “Greenberg Contradictions 1”, Mickos is on the low floor, of course, to catch the passing trade.
This simple presentation meant the samples were easy for assessors to go through; the logic of the development was clear and any collections of samples were grouped together, either on one sheet or on a series of sheets.