Contact us• Tel: 01243 816253• www.chi.ac.uk/fineart

FINE ARTDEGREESHOW2013

FINE ART DEGREE SHOW 2013

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CONTENTS

Evidence 7Studying Fine Art at theUniversity of Chichester 47BA Fine Art 50MA Fine Art 51Staff & Facilities 52Directory of staff 53Visit us 55Find out more 55

Jon Clayton15

Sarah Croad16

CarolynMackwood

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Laura Fletcher18

Beth Gower19

Hannah Greasley20

Gemma Green21

Lydia Alexander10

Kate Andrews11

Jonathan Bulezuik12

Hannah Cahill13

Maria Caldaralo14

Robin Jarvis27

Olivia Kattenhorn28

Mairi Lawther29

KatherineLipsham

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Adrian Merrifield31

Faff Ophaus32

FrancescaPattison

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Letitia Green22

Beth Hemmings23

Kelly Horn24

Sharon Howard25

Sarah-LouiseHurford

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Hannah Tasker39

Amy Tattersall40

Anna Taylor41

FrancescaThompson

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Sally Wilkins43

Abi Wilson44

Marie Paul34

Anna Rose35

Thomas EdwardRobson

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Holly Rozier37

KimberleySkinner

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FINE ARTDEGREESHOW2013

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EVIDENCE ...

... To leave ones mark ... We all leave evidence ... like ... fingerprints:• An impression of the pattern of ridges on the palmar surface of the end joint of each finger and thumb

• Any identifying characteristics (www.collinsdictionary.com)

There is ‘hard evidence’, the substantial, and there is the ‘trace’, the more ephemeral and transient. The mark that stands the test of time or the mark that can be easily erased. Evidence builds anidentity, the accumulation of ‘signs of life’ and of being here, beingthere and of ‘leaving your mark’ like a signature, as a presence. Artproduces multifaceted and complex evidence. Through art we markout particular lines of enquiry, ‘put our finger on it’ and find solutions. Art provides evidence of thoughts into action and action into waysof thinking through materials.

Fine Art at The University of Chichester is evidence-based, whereideas take on material form and the creative process is tangible in all that we produce. The evidence is clear to see. This year’s degreeshow is rich in this complex evidence and reveals the dazzling arrayof sophisticated, compelling and intriguing art works.

I would like to congratulate all of the artists presented in thiscatalogue and in the accompanying exhibition. They have shown theirskill, drive and ambition in creating such enthralling and exciting work.

The exhibition reflects the huge range of skills and techniques,materials and disciplines that the department specializes in. All thework reveals signs of the hand-made, where indexical marks on thepainted/touched surface, on the carefully constructed object and in

the staging of the controlled spaces of display, leave the irrefutableevidence of the maker’s presence. There are skeins of paint forminga room, there are signs of aging on the body, of shimmering fabricsturning into grotesque, uncanny and erotic shapes, bodily evidenceof hair as signs of intimacy or revulsion, burnt wood, winged-nutpierced ceramics, pencil mark faces gazing out, layered prints andfabrics as if memories, paintings like dreamscape and of pylonsmarching across the green and pleasant land. All of these stampedwith the individuality of each artist. The work certainly has the artists hands all over it imprinted, as if with their very DNA, to form a unique impression.

These objects and traces are signs of both struggle and resolution.There is evidence of a completion but also of a beginning. This is thecompletion of the degree and also a start of a new phase and thenext stage in the life of these artists. There is clear evidence thattheir work will propel them forward onto greater success.

The Fine Art team and I wish them the very best for in the future. It has been an intense and rewarding experience and it has been both a challenge and a privilege for us to work with them and to see the transformation into professionally skilled graduate artists.

The exhibition is not only forensic in its detail but also expansive in its appeal and this is unmistakably Evident!!

Steve McDadeHead of Department of Fine Art

THE ARTISTS

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KATE ANDREWS

Using insects that I have found in my pathand drawing each one in great detail,

I feel I am recognising them as beautifulcreatures and showing my appreciation.Each one is precious and deserves at

least someone to spend a small amountof time to consider and remember them.

Email: kate-a123@hotmail.com

LYDIA ALEXANDER

Every decision we make, every action wetake has brought us to where we are now.Inspired by the work of M. C. Escher and Dante Alighieri’s poem ‘The DivineComedy’, I attempt to investigate life’sjourney using black and white pictures of corridors and stairways.Email: lydia.eva.alexander@gmail.com

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HANNAH CAHILL

Reflections seen in surfaces such as water andmirrors form the contextual part of the threedimensional objects they are being viewed in.The image itself, however, is flat. Through the

medium of printmaking I explore creating depthusing layers and repeating patterns employing

photography as a source of inspiration.Email: hannahmcahill@hotmail.com

JONATHAN BULEZUIK

Using electric fans and magnetic tape I createdrawings in space. My work, partly inspiredby the conceptual ideas Martin Creed andthe creations of Zilvinas Kempinas, has nohidden meaning. I want the viewer to fullyengage with my work not just by looking at it. The result is that I create connectionsbetween us and the material world.Email: bulezuik@gmail.comFacebook: facebook.com/jbulezuikTumblr: jbulezuik.tumblr.com

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JON CLAYTON

I sculpt natural and industrial materialsand use found objects to create

assemblages that explore the blurredboundary between fear and attractionof the unknown. The resulting work is evocative although challenges the

viewer to locate their own perceptionsaround what is being represented. Mycreative process is driven by instinct.

Email: claytonj243@yahoo.co.uk

MARIA CALDARALO

Through the medium of textiles and mixed media I am attempting to show therelationship between people and objects,more specifically objects that form a SouvenirCollection. I am interested in creatingnarrative through juxtaposition, with thetheme centred on memories and identity.Email: mariacaldaralo@live.co.uk

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CAROLYN MACKWOOD

Using the pier as a metaphor, I explorethemes of secrecy and loss. By playing

with signage, pictorial space andmediating between light and dark,

I invite the viewer to look beyond whatis on display, to consider what is hidden.Email: carolyn mackwood@talktalk.net

Web: carolynmackwood.com

SARAH CROAD

My paintings are of indistinct, blurred figures occupying dark spacesilluminated by strong light. This lightbecomes the main focus of the paintingdue to its colour and shape. I paint withacrylic onto small canvas board andwork from my own video stills taken of important occasions.Email: slcroad@gmail.com

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BETH GOWER

My work is formed using photographsas a platform to recreate a collectionof leaves. Being unable to recognisethe photographs as a specific place issomething that interests me most –creating the unknown. Influenced by

Claire Woods and Fauvism. Email: Beth_gower@hotmail.com

LAURA FLETCHER

The theme of my work is memory of placeand nostalgia derived from personal andfound photographs of American suburbanarchitecture and landscape. I wash and layeroil paint, investigating geometric shape,signage and landscaping forms. The workcreates after images that burn in the memory.Email: shesurfs@mac.com

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GEMMA GREEN

This body of work employs the quasi-architectural 'skins' of household

gloss paint to form a collage of processesand practices. My fascination with the

reflective quality and sculptural tactility ofthis material has inspired my practice overthe past three years. It has been refinedthrough methodical experimentation.Email: gemmagreenartist@gmail.comWeb: www.gemmagreenartist.co.uk

HANNAH GREASLEY

Interested in the idealisation of the femaleform throughout art history, my workintends to exhibit the juxtaposition of theideal and the reality. My paintings depictareas of detailed flesh featuring 'flaws', thatsubside into soft serene female nudes, whilstthe play of composition and perspectiveallow for a less voyeuristic atmosphere.Email: hannahgreasley@hotmail.comWeb: www.hannahgreasley.tumblr.com

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BETH HEMMINGS

My work has always revolved around howfeminism has supposedly evolved to adaptto contemporary culture. I mainly work in textiles as a typical ‘womanly-skill’,

but have recently introduced lomographyinto my practice. My main inspiration has always been Tracey Emin, who is afantastic artist and business woman. Email: bethhemmings1@live.co.uk

LETITIA GREEN

Through the use of my ownphotographs and the medium ofdrawing I have been investigating thedarker sides of social networking sites.Whilst focusing on ideas of authority,privacy and the unknown, I have alsoexplored the relationship betweenphotography and drawing, which has been closely informed by the work of Chuck Close.Email: Letitiamay@hotmail.co.uk

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SHARON HOWARD

The work is drawing-based focusing onthe Sgraffito technique (Sgraffire) in

Italian meaning to scratch. The surface ofthe paintings are incised with the imageof the Hare and it's natural habitat withentangled mythological and folklorethemes running through the piecesrelating to the 'Hare and the Moon'Email: howard.shane@ymail.com

KELLY HORN

Using paint to express my experience of landscape, my work focuses on thepatterns, forms, and colours of nature on a macrocosmic level. For me the use of photography as a tool of observation is important and the dynamic relationshipbetween paint and photography is one I am continually exploring. Notions ofaesthetics and craftsmanship are alsosalient issues within my work.Email: kellyhornartist@hotmail.co.ukWeb: www.kellyhornartist.co.uk

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ROBIN JARVIS

I paint from photographs, either foundor taken myself. I look for figures andlandscapes I can turn into something

resembling a dreamscape. Using a minimal colour palette and suggestivehalf-narratives, I hope to depict feelingsof uncertainty, anxiety and melancholywithin my pictures. I’m inspired by film

and theatre as well as paintings byPeter Doig, Miriam Vlaming and JānisAvotiņš among others. I’ve also beensomewhat inspired by Sigmund Freud’s

essay on the Uncanny.Email: robin.jarvis@live.com

SARAH-LOUISE HURFORD

I explore the folds of velvet fabric through the process of painting. The harsh chiaroscuro of velvet - its dramatictonal contrast - is reflected in my use ofcomplementary colour's and overt markmaking, transforming the softness ofvelvet into the appearance of somethingmore solid. As the viewer begins to graspthe underlying subject of my paintings, a feeling of confusion and vertigo sets in.Email: sara-loo@hotmail.comWeb: www.sarahlvh.tumblr.com

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MAIRI LAWTHER

Using mixed media, in particularphotography and print, I explore therepresentation of autobiographicalmemory. The snapshots of a smallsection of a ‘memory’ allow theviewer to take on the role of a

voyeur; small sections of text arevisible making the viewer explicitly

read between the lines and imagine their own reality.

Email: mairihlawther@aol.com

OLIVIA KATTENHORN

A fascination with JPEG images andpurposely misusing inkjet printers to revealglitches, fading and replacement of Hue has been represented through the languageof paint. Noticeably imperfect, the paintingsdocument shifts with photographs andmechanical reproductability being adistraction. The inkjets irregularitiesmanipulate the image drawing attention to its own mark making and stress; thealmost human fallibility of machines.Email: liv_kattenhorn@hotmail.co.uk

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ADRIAN MERRIFIELD

My practice is based around myobservations of human/urban interventionin the English landscape. My paintings areatmospheric and try to capture the beauty

of the landscape of England, but alsoacknowledge the ever present invasion ofstructures that feed human society’s needfor travel, power and communication.

Email: adymerrifield109@googlemail.comWeb: adrianmerrifieldfineart.co.uk

KATHERINE LIPSHAM

Objects: anything that is visible ortangible and is in relatively stableform. ‘Things’ hold so manypersonal and intangible qualitiesthan just their material and form.My work consists of my ownsentimental value of generations offamily bits and pieces. One man’streasure is another man’s rubbish.Email: katielipsham@hotmail.co.uk

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FRANCESCA PATTISON

Using the notions behind hair, such asidentity, time and the sense of loss, mywork is about challenging the viewers

perceptions of why hair is seen as disgustingwhen unattached from the head, yet can bebeautiful when represented in a different

form. I use photography, mixed media andfilm to explore visual representations of this.

Email: francesca.pattison@hotmail.co.uk

FAFF OPHAUS

Using traditional craft practices I am ableto explore my own ideologies of genderroles that have or have not been prevalentin my personal life. Using these methods I feel I am able to connect with my owninner femininity while also touching intomy own insecurities and madness.Email: katophaus@aol.comfacebook: www.facebook.com/FaffySquid

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ANNA ROSE

A wide selection of miniatures analysing a tangential evolution of Homo Sapiens.My work has historically focused on thehuman form by examining possibilities

and applying emotion as a physical aspect.This series of works explore physiology,

culture and personality in order toascertain that which makes us human.

Email: annarose203@gmail.com

MARIE PAUL

I combine familiar images drawn from films,animation, fashion photography, old masters,popular media, dreams and escapism. Whencombined, these portraits create a parodythat seeks to challenge our understanding ofbeauty and deformity. On closer inspectionthe viewer is tempted to question what it isthey are actually looking at.Email: marie-paul@hotmail.co.uk

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HOLLY ROZIER

Manipulation and transformation of the body is the main focus of mywork. My chosen field of practice is

soft sculpture, as it allows me to createvoluptuous, fleshy forms that remainmalleable and tactile. Exploring the

juxtaposition between beauty and thegrotesque, using luxurious embellishedfabrics against crudely stuffed tights, mywork has the ability to attract and repelsimultaneously. Concurrently sporadicelements of humour are introduced

due to the selected body parts.Email: holly-rozier@yahoo.co.uk

THOMAS EDWARD ROBSON

My work is exploration of the intaglioprintmaking process; to create multipleversions of my work is an importanttheme. I have given these multiple printsgrounding in the use of Krauss’s gridtheories and the colour spectrum to createa series of vibrant multiples.Web: www.behance.net/T3R

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HANNAH TASKER

In my work I extract the shadow fromfamily photographs. Using textiles

I sequentially freeze these shadows intime to portray the ideas of memoryand the fading of those memoriesthrough the years of a life. Artists such as Christian Boltanski and

Kumi Yamashita inspire my work. Email: hannahtasker47@hotmail.com

KIMBERLEY SKINNER

My work explores the passing andconsumption of time using Crochettechniques; influenced by the pressure andfreedom that time can give us and linkingwith the comforts of domestic life throughthe process of a well-known craft technique.Email: kim_skinner@hotmail.co.uk

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ANNA TAYLOR

My work is an exploration of different media, and ways to apply these media, in order to create a balance between

accident and control.Email: anna@taylor-family.org.uk

AMY TATTERSALL

In my paintings I explore abstractedapproaches to capturing the essenceof remembered landscapes with an innovative and explorativeapproach. Ideas for these layeredfictive images come from a myriadof sources: walking and drawing inthe landscape itself, photography,memories, imagination and otherartists including Fiona Rae, Peter Doig and Johannes Itten.Email: amy@amytattersall.co.ukWeb: amytattersall.co.uk

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SALLY WILKINS

My work concerns flowers - their meaning anduse as a vehicle for memory and the emotionaleffect of colour. I've explored painting flowersthrough a combination of direct observation

and my own photography and through a focus on mark making and texture.....

and been influenced by artists such as GeorgiaO'Keeffe, Monet, Van Gogh and Emil Nolde.

Email: sallywilkins@ntlworld.comWeb: swilkins.moonfruit.com

FRANCESCA THOMPSON

I cast the natural breasts from a selection of volunteers to showhow much the female body canvary; I use repetition within mywork to create multiples and series.I intend the work to be honest andtruthful, reflecting how societyshould view the female body.Email: Checky18@btinternet.co.uk

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ABI WILSON

My work is an exploration of multi-faceted portraiture and how it displaysthe grey of the inner character as well as the black and white of outerrepresentation, allowing one portraitto convey the many sides of a person,creating a whole through the display of its individual parts.Email: a-g-wilson@hotmail.co.uk

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FINE ART AT THE UNIVERSITY

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FINE ART AT THE UNIVERSITY OF CHICHESTER

BA and MA Fine Art - inclusive specialist and/or multidisciplinarycourses offering each student a range of skills, disciplines andaspirations appropriate for the contemporary artists of the 21st century. The Fine Art Department at the University ofChichester is an exciting place to study art. The departmentprovides the dynamic and supportive learning environment for theproduction of professional skilled and innovative new work.

The Fine Art Department is highly rated by our students who tellus they really enjoy the depth and breadth of study. The Fine ArtDepartment at University of Chichester has been voted No.2 in the country for student ‘satisfaction with teaching' in Art &Design (National Student Survey 2012). The University has alsobeen voted top modern university in the country for studentsatisfaction (National Student Survey 2011).

The programmes are focused on practical skills and the manyprocesses and materials-based investigation of specialist disciplines.The well-equipped workshop and studio environments provide thesupport for experimental, creatively inventive and ambitious work.Fine Art provides the learning and teaching support relevant tonational and international career opportunities.The key areas ofdrawing, painting, printmaking, sculpture and textiles are supportedby technical workshop provision. Students can become fullycommitted to one of these discipline areas or can work moreinnovatively across areas.

The programme team recognise that many art students want to develop skills in a range of disciplines before becoming morespecialised whilst other students want to specialise on one single discipline.

Built around this principle of student choice, our BA and MAprogrammes of study allow students to:• specialise from the outset (e.g. textiles, sculpture, printmaking, painting, drawing or digital photography/video)

• or to move between various disciplines over their period of study as they develop their own ‘hybrid’ practice (i.e. textiles and metal sculpture, painting and digital photography, printmaking and ceramic sculpture etc)

• and to settle into one specialism at a later date.

Creative engagement, skills, employment and the wider community The programme also provides enterprise and entrepreneurialprofessional skills essential for employment in the 21st century;This includes; the ability to communicate effectively, showindependence, creative thinking to problem-solving, enterprise and group working skills. The programme provides ‘live’ work in real-world settings. In the second year of study students’ workon a diverse set external projects within the region.

Fine Art is exciting and rewarding. Students are encouraged to take some risks and to challenge assumptions and to realise that whatever they make has never existed before!

Students at the University of Chichester enter a community of artists musicians dancers and performers which will help to extend your thinking into new creative areas and make new discoveries.

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Main Studio Activities• Painting: Oil, acrylic, drawing, construction, mixed media.• Textiles: Constructed textiles, felt-making, embroidery, papermaking, printed textiles, mixed media, installation,

• Sculpture: Wood, metal, casting, plaster, ceramics, found materials, mixed media,

• Installation: appropriated materials, site based and gallery based work

• Printmaking: Etching, screen-printing, relief printing, mono-print and combined media.

• Drawing: Fundamental aspects of visual research as an underlying approach to other areas or as a discreet practice. Drawing is seen as an important element in the development and realization of ideas and is the basis of the initial studio work at level one.

• Digital Art: Digital photography, video, sound, net-art, animation, installation.

BA Fine Art (FHEQ levels 4, 5 & 6)

Methods of studyThe degree can be taken full-time or part-time. In the first year (level 4), students will initially be set a series ofresearch and drawing based activities that will drive the students’ideas towards a self-directed practice, greater independence, andby the final year (level 6), the attainment of a distinctive vision. • Studio practice: Both individual and group tutorials take place regularly, as well as ‘crits’ and other group work. A flexible teaching and learning strategy offers a variety of student centred ways for students to grown in confidence and develop an understanding about their own work.

• Workshops: workshop instruction occurs throughout with our specialist team of tutors; at least 6 hours per week.

• Contextual strand: Lectures, seminars and 1-1 tutorials.

• Independent learning and full use of the studios and workshops for self-directed work is supported through tutorials, group tutorials, seminars and formal lectures.. Students learn to create their own negotiated pattern of work as they move towards the degree show in their final year (level 6).

Visiting ArtistsA programme of national and internationally renowned artistsallows valuable insights into professional practice and providesstudents with seminar and tutorial discussion on their studio work.

Professional Experience and external project workIt is vital that students are prepared for some of the things thecontemporary art world will throw at them on graduating. We have developed a programme in which second and third year (level 5 and 6) students have to focus on aspects ofprofessional practice and vocational experience. Recent studentshave worked on site-specific commissions, community artsprojects, and work placements with local galleries and museums,residencies in schools, and even creating their own virtual gallery.The experience is invaluable in terms of working to time andbudgetary constraints, and dealing with the public.

EmploymentThe course provides the opportunity to develop skills across a broadrange of areas and become resourceful, reflective learners, findingcreative solutions to new problems and with the ability to be self-disciplined and able to work independently. ‘Creativity’, thinking ‘out of the box’, and good communication skills (visual, verbal, andwritten) are all key skills that employers are seeking, and these arefundamental skills developed by Fine Art. See brief biogs of formerstudents at www.chiuni.ac.uk/fineart to demonstrate how some are using their skills to be artists while others are using themsuccessfully in all sorts of other professional arenas.

Critical and Contextual StrandThe Critical and Contextual Strand encourages Fine Art studentsto engage with the history of art and critical analysis in re-thinking the nature of the Visual Arts. In addition it develops academicstudy skills necessary for the Personal Study in the final year (level6). The integration of theory and practice provides the stimulatingscholarly debate that is central to teaching and learning and relatesconcepts and contexts to studio practice. Most importantly, it brings confidence to individual students in presenting their work in a professional and informed way.

Assessment across the programmeAssessment occurs throughout the course in the form of visual and oral presentations, seminars, group critiques, essays andculminates in the final year degree exhibition of practical work for BA students.

Study TripsWe offer the opportunity for all students to visit a majorinternational city at an affordable cost to study the museums,galleries and culture. Recent cities have included Venice, New York,Barcelona and Madrid. Trips to Museums and galleries in Londonand other urban centres occur throughout the academic year.

ExchangesCurrently we offer student exchanges for selected Level 2 studentsto go: Valance in South Eastern France, or Thomson RiversUniversity in Western Canada.

MA Fine Art (FHEQ level 7)The course is designed to support post graduate studies and to enable individuals to strengthen their position as artist’s andmakers. The move from undergraduate to postgraduate study is characterised by the depth and focus of research and with theincreasing sophistication of a critically reflexive, material practice.The emphasis of postgraduate research is on the intensity ofautonomous study coupled with, and supported by, rigorousdebate and interaction with staff, visiting artists and fellow students.

The programme is centred on the concept of ‘practice asresearch’; this can be seen as bringing together of all aspects of art knowledge, skills and critical understanding to the visualinvestigation of materials, experimental approaches to processesand to the construction of new responses to the making of art.The course aims to enable you to achieve a critical reflectivepractice where studio work becomes the testing ground ofmethods, genres, concepts and contexts . For further informationvisit www.chiuni.ac.uk/fineart/MaFineArt.cfm.

Duration of the Course Full time –12 months (September to September). Part time – 24 months (September to September)

Applications and Entry RequirementsWe expect new MA Fine Art students to come with a goodunderstanding of how they might fit within the broad context of contemporary fine art practice, and show ability to workconfidently within this area. We welcome international applicationsand look forward to working with artists from a variety ofnationalities, backgrounds, and experiences. You are expected tohave an Arts degree at 2:2 or above or a relevant professionalqualification/experience equivalent to a degree. For furtherinformation contact the Route Leader, Dr. Shirley Chubb Tel: +44 (0)1243 816196 or Email: s.chubb@chi.ac.uk

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Staff & Facilities

The learning EnvironmentAll BA students doing ‘studio practice’ modules (i.e. Single Honoursand Major) and Full Time MA students are allocated a personalstudio base. All students also have access to workshop areas andtechnical support in the following key disciplines: Welding, casting,working in wood, carving, ceramic and plaster, woven and printedtextiles, feltmaking, embroidery, drawing, painting, printmaking,digital photography and new media, video and sound. Studentshave access to instruction and demonstrations in these keydisciplines throughout their study in a culture of safe working and professional practice.

Lecturing staffThe lecturing staff are active practising professional artists and researchers who regularly exhibit or publish their work. The friendly team of staff have expertise ranging from painting,sculpture, textiles, digital art, printmaking and installation. There is a programme of visiting lecturers who bring professionalcontexts, specialist skills and practices (past visiting lectures listed at: www.chiuni.ac.uk/fineart/FineArtAcademicStaff.cfm).

‘artOne’Fine Art is located in a purpose-designed art building called‘artOne’. The building:• provides specialist workshop areas in: - Textiles – embroidery, weaving, dying, printing, - Sculpture – welding and metal casting, ceramic, plaster and carving.

- Print making– etching, screen print, relief print. - Woodwork – for making painting stretchers, frames, sculpture etc.

- Painting – oil, acrylic, supports-canvas, board.

• a massive open plan studio divided up into personal spaces for each single honours and major student,

• a life drawing space,• an art materials shop,• a ‘Research Space/Gallery’ that students can book to test out installations etc,

• a dark installation space ideal for video and projection,• an outdoor working area.

The Otter GalleryThe Otter Gallery is an on campus Art Gallery open to the public.Each year a programme of exhibitions is organised to include thework of established and emerging national and international artists.The Gallery is also used to exhibit both student and staff work andalso work from our own ‘Otter Collection’: an importantcollection of British 20th century art which includes work by HenryMoore, Patrick Heron and Stanley Spencer.

Pallant House Gallery, ChichesterStudents can take full use of the research opportunities offered by the gallery in supporting the critical and contextual strand.Pallant House Gallery is one of England’s leading galleries. It’s collection of 20th Century British art is a wonderful resource for study.

Directory of staff

Academic staff• Steve McDade - Head of Fine Art• Victoria Brown - textiles• Shirley Chubb - MA coordinator, print and mixed media• Rachel Johnston - textiles, mixed media and external projects• Chris McHugh - painting• Tim Sandys-Renton - Admissions tutor, sculpture and video

Associate lecturers• Elizabeth Colley - painting, print making and drawing• Pete Codling - sculpture• Chris Aggs - painting and print making• Mike Walker - contextual strand

Art technicians• Di Hockin• Nik Jewell• Bob Marshall• Anne White

Media technician• Neil Bryant• Sarah Wright

Course administrator• Clare Hilton: Email c.hilton@chi.ac.uk

Subject librarian• Wendy Ellison

External examiner for BA• John France (Advanced Centre in Drawing. UWE Bristol)

External examiner for MA• Professor Naren Barfield (Pro Rector (Academic) RCA)

Visiting lecturers from 2011/12• Polly Binns - textile artist• Kate Brinkworth - painter• Neil Brownsword - ceramicist• Clive Caswell - curator• Andrew Curtis - printmaker• Simon Fenoulhet - installation• Mark Francis - painter• Charlie Hooker - sculptor• Gill Nicol - arts consultant• Flora Parrott - printmaker• William Rounce - drawing & installation• James Stewart - gallerist• Avril Wilson - mixed media

Catalogue credits• Graphic Design: Graham Roy Donaldson• Photography: Bob Marshall

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VISIT USWe hold many events throughout the year including:• General open days• Fine Art specific Open Days• Fine Art Degree Show

Open Days are held throughout the academic year. You may attend talks about the course structure, tours of the workshops and studios in artOne, and you might also like to book a portfolio advice and preparation session.www.chi.ac.uk/department-fine-art.

FIND OUT MOREFor more information visit our website or contact Clarie Hilton, Fine Art Department Administrator.• Tel: 01243 816253• Email: c.hilton@chi.ac.uk