Private Space at Boarding School

First they were asked to make a space by themselves for themselves. It was quite successful as everybody quite spontaneously came up with different structures. The individual nature of each stick means that consequently the dens are also individual. Secondly they were asked to join into 2 groups of 3 people and make larger dens. We used bed sheets to make roofs and walls. Some girls came up with the idea of using the nuts as weights to weigh down the sheet in the right place. 

It was a surprisingly successful workshop that everyone seemed to enjoy. We also talked about the lack of privacy in boarding school, which these private spaces were an extended way of thinking about.

First Half Term as Artist in Residence at St Georges School Ascot

Terrazzo in Venice

Apartamento Pics

Trix and Robert Haussmann - The Lehrstuck I, architctural forms as furniture, 1977.

Trix and Robert Haussmann - The lobby of the Hotel le Plaza, Basel, 1984.

Trix and Robert Haussmann - The Lehrstuck II, function disturbs form, 1978.

Smiljan Radic - The access ramp to the House for the Poem of a Right Angle.

Articles

http://www.theguardian.com/artanddesign/2013/aug/03/pop-up-designs-architecture-london

http://www.agnieszkamlicka.com/texts/The%20Psychology%20of%20the%20Interior.pdf

http://www.sciarc.edu/lectures.php

http://www.aaschool.ac.uk/PUBLIC/AUDIOVISUAL/videoarchive.php?page=3

Camberwell Degree Show 2013

 MANY pictures but i couldnt choose

Keir Smith

A sculptor, but I like his water colours better.
The sources for his work were based in the art, architecture and sculpture of the italian renaissance.
Keir's long-standing interest and research into the iconography of Renaissance painting through to a revisited interest in the Thames within the City of London and Dutch marine painting.


Dutchman in Flanders III, Acrylic on paper, (2006), 76 x 56 cm.

In Keir's work as a whole, there is a central focus on cultural memory, on the reconstruction of a way of imagining the world that survives only in morsels or fading impressions. Keir was an artist driven by a sense of responsibility towards the almost completely abandoned ways of making meaning in Italian Renaissance art, and towards its own sense of inheritance and indebtedness.


The Tracento Mountain, watercolour, (1995- 97), 51 x 71 cm

 
Signature Spar, Acrylic, 25 x 18 cm, (2005).