Tom Hunter / Helen Amy Murray / 150 years of St.

Martins / Chelseas move to Millbank / Summer Shows / LCC award-winners / LCF MA catwalk show / Camberwell at Dulwich / Xhibit

University of the Arts London Magazine

spring/summer 2004

Contributors

Michael DaCosta is a marketing strategist. He is a co-host of the World Creative Forum and an adviser to the charity Arts & Business. He is an alumnus of LCC.

Rowan Erlam is currently studying BA Journalism at LCC. Since last summer, she has worked for Sneak magazine.

Maria Fitzpatrick is in her third year BA Fashion Promotion at LCF. She has worked at London Fashion Week, Fashion Rocks for the Prince's Trust and the British Style Awards.

Max Fraser is the founding author of the DESIGN UK series. He also contributes as a freelance journalist for Icon, Elle Decoration, Intra, and the Independent. He is currently co-writing a book with Sir Terence Conran.

Austin Cowdall and Matt Hamilton are NEW. Both studied at Camberwell College of Arts setting up NEW in 1996. NEW's illustration clients include The Face, the Guardian and Time Out.

Michelle McGagh graduates from BA Journalism at LCC in May. She has worked for an independent music magazine and a postproduction film and television company.

Caroline Smith is a Londonbased writer. She has been Contributing Editor of Creative Camera and Black Book magazine in the US and is currently Visual Arts Editor at Attitude.

Since graduating with a Postgraduate Certificate in Photography from CSM, Alys Tomlinson has worked for Time Out in New York, Berlin and Paris as well as Penguin Books, The Times and Design N/A.

Front cover image: Rat In Bed, 2003 the artist. Courtesy Jay Jopling / White Cube (London) Back cover image: Red chair for 100% Design cHelen Amy Murray
If you would like to contribute to forthcoming issues, please get in touch with your news. University of the Arts London Magazine, 65 Davies Street, London W1K 5DA T: +44 (0) 20 7514 7604 E: alumni-association@arts.ac.uk W: www.arts.ac.uk/alumni Alumni Co-ordinator: Jo Stiles Editor: Jane Struthers; Assistant Editor: Mary Lehner; Design: M2; Print: BSC Print

This magazine is available in a pdf format.

University of the Arts London Magazine is published by the Department of Communications and Development. No part of this magazine may be reproduced without the prior permission of the publisher. Whilst every care has been taken to ensure the accuracy of editorial content, no responsibility can be taken for any errors and/or omissions. The views expressed in this magazine are not necessarily those of University of the Arts London. All rights reserved. cUniversity of the Arts London 2004.

Contents

University of the Arts London Magazine

SpringSummer2004
02 03 04 10 14 20 26 29
Announcements Comment Interview Gallery Profile Summer Shows Noticeboard Short courses
The Rector, Sir Michael Bichard, explains the significance and the future of University of the Arts London Max Fraser examines the difficulties now facing young designers Tom Hunter discusses his recent work based on the headlines of local newspapers Xhibit 04 opens in May.We take a look at a selection of the students work on show Helen Amy Murray talks about her success over the last two years and how it has provided her with the opportunity to focus her business A taster of this years degree shows. Make sure youre there to view the latest in fresh, creative talent Alumni news, events and exhibitions Advance your skills on the wide range of short courses available

Around the Colleges

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London College of Fashion
From Graduate Fashion Week to the latest MA catwalk shows, a review of LCFs success over the last 12 months

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Central Saint Martins
CSM celebrates its ancestry as it marks the 150 year anniversary since the foundation of St. Martins School of Art

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Camberwell College of Arts
The research and inspiration behind the How Do You Look exhibition that opens at Dulwich Picture Gallery in autumn 2004

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London College of Communication
We ask four award-winning alumni how they have progressed since graduating from LCC

24
Chelsea College of Art and Design
Head of College, Professor Roger Wilson, reports on Chelseas imminent move to Millbank

Announcements

Why a university?
The Rector, Sir Michael Bichard, explains the significance and the future of University of the Arts London s University of the Arts London, we are the UKs first broad-based university dedicated to art, design, fashion, communication and performance. Our new name reflects the quality and nature of our organisation, as the title of University is the gold standard for higher education. Our core activities are all related to the creative industries and benefit greatly from our location in the heart of London. The new title reinforces our position, strengthens our brand and raises the profile of our specialist subjects. As a university, we are in a stronger position to recruit the best students and staff. University of the Arts London will be recognised clearly as a centre for high quality teaching, learning and research.We will have parity of esteem with other universities of equivalent achievement. We shall continue to celebrate the individual identities and characters of our Colleges and their distinctive approaches to their disciplines.We shall carry on the tradition of encouraging our graduates to use their imaginations and creativity to contribute to the sectors in which they work. Our alumni shall continue to be amongst the most influential practitioners in their fields worldwide. The creative industries are one of the

Game on Greek designer and CSM graduate, Sophia Kokosalaki, has been commissioned to design the costumes for the opening and closing ceremonies of the 2004 Olympic Games in Athens. Unity Chelsea graduate, Anish Kapoor, is to create a memorial in New York to the British victims of the 11 September 2001 attacks on the World Trade Centre. The sixmetre sculpture, Unity, will form the centrepiece of a memorial garden near the Twin Towers site. Kapoor has also been commissioned to create a sculpture for the new Millennium Park in Chicago.

fastest growing sectors in the UK economy, boasting nearly two million jobs and contributing over 11bn in exports to the balance of trade. Our status as University of the Arts London provides a focus for our educational, cultural and industrial links. It also helps us capitalise on opportunities to develop world-class partnerships with business and the professions as well as the international educational community. We offer a vision of excellence in university education for the 21st century to all of our students, parents, staff, alumni, partners and employers. The change of title represents the latest achievement of the London Institute since its incorporation in 1989.We are delighted to face a future filled with creative opportunities as University of the Arts London.

Winning words London College of Fashion alumna, Mary Sotiropoulos, has won an Elle talent award. Sotiropoulos now joins the Elle team on an internship and has been given the freedom of a monthly column within the magazine, she will also be reviewing the spring/summer catwalk collections in September. Get involved We are planning a series of events throughout the next few months to celebrate the launch of University of the Arts London, which include masterclasses, reunions and receptions during the final year shows. For more information contact the Alumni Association on 020 7514 7604.

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Comment

The art of cultivation

Max Fraser comments on the future of promoting young designers s a Londoner, one grows complacent to moans about the tube, groans concerning congestion, defeated sighs about the weather, and the phenomenally high living costs. Hell, I find the whining is even contagious. One wonders if we have all lost sight of the splendour sitting on our doorsteps? Are we forgetting to remind ourselves that our city is, without hesitation, one of the worlds most thriving creative capitals? Whilst we might need a solitary moment to ponder this fact, it would seem that students are flocking to London to sample its offerings. The immense maze-like metropolis, provides the playground of discovery and inspiration that they all seek. As increasing numbers of designers enter the market each year, the prospect of making it becomes evermore competitive. In my experience, three types of design graduate tends to emerge: those that write off design and steer themselves into different industries; those that find jobs at existing agencies; and those that choose to set up alone. The latter form the small proportion that need mentoring. But even the most entrepreneurial characters need suitable outlets to the right markets. Networking can be

a slow-building and rather false existence. In the early stages, empty wallets allow no room for error. Advertising is out of the question and even the free capacity of websites has limited reach. It would seem that the tried and tested forums for attracting attention are exhibitions. Visitors love the interactive nature of installations, the tactility of experiencing objects in the flesh, and the buzz of the new. Schmoozing is rife and the exchange of cards is fluent the crosspollination of ideas electric. Exhibiting doesnt come cheap and the ambition of organisers can often become stifled by the enormous fixed costs. Quality can be compromised to meet sales targets and organisers are often forced to approach their B list exhibitor lists. To prevent this,

government or corporate sponsorship should consider subsidising the early ambitions of tomorrows talent generation. Schemes do exist, but far too many companies think award schemes are the best avenue to pursue. With a different award ceremony unleashed every few months, one starts to question the credibility of such events. Is it really democratic for one individual to win 25k? Shouldnt this vast sum of money be pooled across groups of designers to better effect? The thinking behind this is simple in the minds of marketing directors, money dictates the level of importance and buys credibility which, in turn, results in sizeable brand exposure to a new target audience. I cant help thinking that if groups of young designers across the country were given more mini breaks with modest localised sponsorship funds, then they would identify and link more quickly with their chosen market, however niche, forming a crucial catalyst for positive growth. If more deserving creatives received the right opportunities early on, the likelihood of a successful business would inevitably grow more solid. And, hey, if there are more visionaries out there honing their skills to improve the efficiency of our infrastructure, or contributing to the overall improvement of our lifestyles then maybe, just maybe, us Londoners might even stop moaning
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Illustration by NEW

Interview: Tom Hunter

Stranger than fiction

Tom Hunters photographs document the realities of life. In his recent series of work he challenges the relationship between image, media and community by reinterpreting local newspaper headlines Interview by Caroline Smith om Hunter is a name most would recognise in contemporary art. Hes represented by Jay Joplings hip and heavyweight White Cube gallery. Charles Saatchi has collected and exhibited his photos and last year his book won the prestigious John Kobal Award. Its hardly difficult to see why. His images are alluring. They unravel tales in a pictorial form usually seen in the paintings of the Dutch and Pre-Raphaelite masters. A fully clothed woman floating on the River Lea is reminiscent of John Everett Millais Ophelia. His wellknown image of a young mother reading an eviction notice next to her sleeping baby is a latter-day staging of Vermeers Woman Reading A Letter At An Open Window. But the rich colours, sensual lighting and meticulous composition illuminate other details such as cracks in the window, shelving thats falling down and wallpaper

Above: Woman Reading A Possession Order, 1997 Right: Lover Set On Fire In Bed, 2003

peeling off walls. Hunters photographs seduce but the political message is inherent.Those who rejected the capitalist legacies left by Thatcherite Britain and chose to live independently as squatters or travellers were and still are labelled in the press as victims or a nuisance.The eye-popping newspaper headlines with exposs that spelt out moral panic to the masses had consequences for Hunter who was squatting at a house in Hackney in the early 90s. I wanted to show images of my community in a different way, he says. We were being labelled. I felt powerless and angry that I was classed as this drug-taking other and not part of society. Hunter responded by turning the camera on the interiors of his home in Ellingfort Road. He photographed the other local squatters and those he met on his double-decker bus when he was travelling though Europe. As Hackney became more developed, the squat, rave and traveller communities were forced to move to the boroughs edges. He photographed his friends in these derelict, ghost-like wastelands, along the overgrown banks of

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All photography c the artist. Courtesy Jay Jopling / White Cube (London)

Left: Rat In Bed, 2003 Right: Landlord Stuffed In Suitcase, 2003

the River Lea.The series, Life and Death in Hackney and Swan Songs feature the individuals and spaces often overlooked. Its a poignant account of an area undergoing development and the clash of private and public interests. Its fitting that this interview takes place in a private showroom at White Cube. It overlooks trendy Hoxton Square and its cluster of restaurants, bars and design companies that moved in after high rents pushed out the art and alternative publishing communities. More than any of the other establishments, Jay Joplings gallery stands as a gleaming symbol of Hackneys gentrification. Hackney is still very working class, Hunter asserts. The media report that its changed, but the majority live in council estates. Its one of the poorest boroughs in the country. Hunter is interested in how this media distortion affects lives. His first series, based on redressing the image of squatters, was bought by Museum of London for permanent display.

The follow-up series, Persons Unknown, was a further response to negative local press. As squatters, we were the easy scapegoats, he says. No-one considered the councils lack of management or saw the houses that were rotting.We were being evicted and these beautiful terraced houses were going to be demolished in favour of building a car park and frozen meat sheds. His work was published in the Guardian and Time Out.The exposure meant that other, like-minded groups offered support. Weve battled with the council for ten years now, he says. Hunter moved to London from a small village in Dorset when he was 20 to escape the usual route of marriage, mortgage and children. Hes dyslexic and found school difficult, so university wasnt an option. After two years working as a tree surgeon for the Royal Parks, he gave up the job and the flat and hitchhiked his way around the States. I took a 35mm camera with me and took snaps, he says. Photography

seemed to be what I could do. It was on every street corner. It seemed that anyone could do it. After a year, he moved into a squat in Ellingfort Road and took an A level in photography.Though he was originally intending to do a David Bailey and open a commercial studio, he attended London College of Printing. After the success of his early work, he went on to study for an MA at the Royal College of Art, where he began to explore art history. My connection has always been depicting the real world, he explains, so at college I started to look at the interiors of realist Dutch paintings. The Dutch painters represented ordinary people rather than religious icons.The light, colour and composition that Vermeer used seemed to reflect my community. He has had his fair share of column inches. Some critics say that his interpretations romanticise reality. Woman Reading A Possession Order with its religious Madonna and baby motif has been criticised for using the

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Left: Halloween Horror, 2003 Right: The Art Of Squatting, 1997

seductive language of advertising photography. Yes, I hold my hand up I want my images to be seductive and beautiful, he says. If you explore the image on another level, you see the reality of deprived living conditions. There are beautiful films about terrible situations, such as the Holocaust, but it doesnt mean you cant have an affinity or sympathise for the characters. People said that I should have airbrushed the image, but why? Once you read the title, the meaning is clear. The photograph has been shown internationally as a curatorial shorthand for the urban realities affecting many in the 90s.Without the usual helping of visual puns and irony that was defining much of the cultural and artistic output at the time, it struck a chord. Saatchi immediately bought it. But Hunter maintains there were no big breaks in his career, but more a case of lessons learnt and obvious highlights, such as the commission to work with residents on the ill-fated Holly St. Estate Tower Block as part of the

Shoreditch Photo Biennial. He was invited into White Cubes artist stable some months later. Im privileged in the way I work, he says. I produce one, maybe two series a year. Friends talk about jobs where they have minutes to photograph a band, so they literally have to grab an image.When I photograph, its always serious and contemplative. I dont spend time wasting shots.The image seeps into the lens. Its a much more pleasurable way of working. Its also the antithesis of the epic and often pompous black and white studies produced by some Magnum photographers who dabble in a community for a book project or the sensationalist glut of photojournalism. Hunter thinks that there should be room for other viewpoints: As soon as you pick up a camera and point it, you make an editorial decision, he says. When a Magnum photographer produced a photo essay on a community of travellers in Hackney that depicted drugs and anti-social behaviour for the Weekend Guardian,

the kids were spat upon at school and stones were thrown through van windows.The results were very damaging. Im not saying that there were no drugs or anti-social behaviour, but it was a fractional part.The fact was that before, two communities lived side-by-side.When the story was published, there was immediate hostility. People believe what they see. Pictures have a huge impact on lives. Hunters new work continues to reinterpret the content of newspapers. In his new series he focuses on the headlines of local newspapers.The results are often fantastical, some sobering, others sinister a woman looking over her sleeping husband as he burns to death but all are studies of the stories people tell, life being stranger than fiction and what winds up as news. One cant help but think Hunters work is bigger than the sum of its parts political activism, local communities, art history and documentary photography to simply show a view of humanism without fashionable irony or pun.

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All photography c the artist. Courtesy Jay Jopling / White Cube (London)

London College of Fashion

A fusion of talent
London College of Fashion students and staff were joined by an impressive audience of industry and press for this year's MA Fashion Studies catwalk showcase. By Maria Fitzpatrick

he buzz of anticipation in the exhibition space was rewarded with an energetic and professional presentation of nine mature collections by the MA Design and Technology students. One of the hallmarks of the course is the rich experience of working alongside students of numerous nationalities (from both industry and undergraduate level), and this multicultural frame of reference was reflected in the scope and diversity of the designs on show. A challenging, but effective, fusion of themes ranging

from childhood daydreams to ethnic glamour lent a vibrant, colourful, eclectic feeling to the evening, but the individuality of the collections themselves was especially evident. The designers had obviously been encouraged to follow very personal paths to seek the true potential in both vision and design processes. Besides the design concepts themselves, students displayed a range of specialist crafting skills along with an intimate working knowledge of their chosen materials.These qualities demonstrate what Sandy Black,

Course Director of MA Fashion Studies, describes as one of the greatest strengths of the course: Our integration of design with technology makes this College a particularly attractive choice for postgraduate study. It means we can tap the enormous potential for fusing creativity and functional design concepts. There is no doubt that the researchled approach is providing students with the best possible chance to make the most of opportunities, with graduates working for labels as diverse as Burberry, Harrods and

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Wearing its name well

At the last Graduate Fashion Week, London College of Fashion dominated proceedings by scooping five of the eleven top awards. Nilgin Yusuf, senior lecturer, explains why t was the first time that a single institution had taken Best Womenswear, Best Menswear and Best Designer. In addition, this was the first year the collections were judged blind, eliminating any preconceptions or bias amongst judges. The winning collection by Yuko Yoshitake, Designer and Menswear, was put into production and marketed by Top Man, Oxford Circus. Currently,Yoshitake is developing her own label with the support of Centre for Fashion Enterprise. Although LCF has always had a presence at Graduate Fashion Week, this was a particularly prize-laden year. The collections were the perfect balance between creativity and commercial awareness, which absolutely sums up an LCF student, believes Dean of Fashion Design and Technology, Roy Peach. The garments were said to look as good on the inside as the outside, which is how it should be. A unique institution, LCF is the only educational establishment in Britain fully committed to fashion. Worth 10bn in manufactured goods and employing 20,000 people, the UK fashion industry relies on a stream of skilled, innovative and wellprepared graduates. One reason for LCFs success is a symbiotic and interdependent relationship with the industry it aims to serve. Fashion Editor of the Daily Telegraph, Hilary Alexander, notes that its fashion

M&S. For others, such as Chris Liu, a womenswear graduate from 2003, the MA is the kickstart they needed to set up on their own. Liu recently launched his label with support from the Centre for Fashion Enterprise based at London College of Fashion. Not dominated by flights of fancy, London College of Fashion graduates achieved an admirable balance of originality and realism, combining creativity and detailed execution with ultimately marketable ideas. A sound basis for uncertain economic times.

department has always had a strong relationship with the College. Over the years, hundreds of fashion promotion and media students have come to us for work experience. They have a down-to-earth attitude, enquiring minds and relish hard work, all qualities highly prized on a daily broadsheet newspaper. One of our LCF work experience students, returned to us as a full member of staff and has been a fashion assistant for over a year. This vocational ethos remains at the heart of LCF. Course leaders and specialist tutors are actively engaged in their professions, passing on a level of learning which is authentic and relevant. We have an amazing staff profile, recruiting people across the industry. Staff are increasingly sought after on a consultancy basis, especially for work in South America and Asia, says Sandra Holtby, Head of College. Since its inception London College of Fashion has evolved to meet the changing needs of the fashion industry. It has carved out an international reputation and continues to develop its breadth of educational provision for 4,000 students. In some ways, fashion is a tricky subject, all about change, never static, constantly evolving. This is one reason it is such a vibrant and dynamic industry and such a fascinating area in which to teach and learn.
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Photography c Jon Bradley

Gallery

Xhibits broad spectrum is a big part of its appeal. And theres more energy and raw talent on show here than anything at, say, this years lacklustre Becks Futures
BBCi on Xhibit 03

Generation x
The seventh annual exhibition organised by the Students Union opens this month. Xhibit 04 includes a selection of work from across a wide range of disciplines from fine art to performance videos. Heres a sneak preview of some of the work on show hibit is an annual exhibition showcasing some of the most challenging and innovative work produced by current students of University of the Arts London. It reflects the diverse membership of the University and the Students Union and provides students with allimportant opportunities to be seen, understood and acknowledged outside of the parameters of their course, College, discipline and the University itself. Xhibit 04 will feature a diverse range of outstanding pieces from students

from the five Colleges, from all different courses and levels of study. No.1 Matthew James Irwin London College of Fashion, 2nd year BA Fashion Styling and Photography Outside in a dress and hat (photography)1 This is the first photograph in a series of four in response to a brief entitled Beauty. I was inspired by Alfred Hitchcocks The Birds, comments Irwin. Each photograph becomes progressively more violent. By the fourth photograph, the model is on the floor trying to protect her face from

the butterflies that are attracted to the flowers on her dress. Its symbolic, playful and humorous, he says. No.2 Helen Barff Camberwell, MA Drawing Pinhole camera car, part I By blacking out a car, Helen Barff turned the vehicle into a pinhole camera. In this image, the pinhole is in the back passenger window and taken with an exposure time of between four and eight minutes. The inverted image projects 180 degrees from inside the car, she comments.

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and the lighting produces the illusion of escapism, comments Hutton. The lighting rig is observed upside down and therefore to the viewer it becomes non-referential, creating its own form of escapism. No.5 Yutaka Inagawa Chelsea MA Fine Art Untitled (violet ink on paper) No.3 Yoshimi Sasaki Central Saint Martins, 3rd year BA Ceramic Design So What! This exhibit is an interactive installation of ceramic balls hanging from the ceiling which the observer cant help but walk amongst and touch, causing the balls to collide into one another. Most ceramics are too delicate to handle and a lot of the time are purely decorative, says Sasaki. I wanted to make something people could touch, hold and play with, I wanted to get people to interact with the piece. No.4 Daniel Hutton London College of Communication, 2nd year BA Photography Below Following a brief entitled Society, I focused on the idea of escapism, says Hutton. I wanted to concentrate primarily on the environments and places we go to escape life, rather than on the actual performances themselves. There are two photographs in the work, both of which are taken in the theatre, one of the seating, Below, and the other of the lighting rig, entitled Above. The seating is where you view the spectacle For this piece, I looked at the chaos and the grotesque imagery and objects that can be found in a modern city, says Inagawa. These were everyday objects both mechanical and organic. From this I created a montage and looked at the shapes that were produced. The work is an abstract piece reflecting the character of a modern city. Xhibit 04 is at The Arts Gallery, 65 Davies Street, from 13 May - 24 June (Monday - Friday, 10am - 8pm). For details visit www.arts.ac.uk/events or call 020 7514 8083
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Central Saint Martins College of Art and Design

This year there will be a St. Martins summer, as Central Saint Martins marks the 150 year anniversary since the foundation of St. Martins School of Art. Michelle McGagh and Rowan Erlam celebrate the Colleges ancestry and explore its future

Bastion of the
ushing the boundaries of London cool has always been the agenda of Central Saint Martins College of Art and Design (CSM). Famous names such as Gilbert & George and Stella McCartney have emerged from its hallowed doors. Even now, as the College celebrates 150 years since the foundation of St. Martins School of Art, they are proving theyve got what it takes to supply a new generation of prodigies for another century. St. Martins had a diverse and prestigious history. It was founded in 1854 by Reverend McKenzie of the St. Martin-in-the-Fields parish, on the back of religious fervour about the Churchs role in education.The School taught mostly design skills to boys and

became independent of the parish in 1859. As St. Martins reputation for inspired arts grew, so did its funding. It received 100 a year from the Technical Education Board and London County Council in 1894. This annual aid meant that the School was able to diversify its range of courses. These included the introduction of plant drawing, stone and marble carving and carriage decoration courses. Remembering the days when Sid Vicious and Chrissie Hynde were illustration models for the School, Howard Tangye, a senior Fashion and Womenswear tutor and former student himself says, There were parties every week, it was a social

atmosphere as well as a creative one. And St. Martins was no stranger to raucous parties; the Sex Pistols played their first gig there in 1975. Tangye always remembers alumni for their work, no matter how famous they have become. John Galliano, who graduated in fashion in 1984, was an excellent student.You could see his talent in his beautiful drawings and illustrations, he says. Surprisingly Galliano, known for his outrageous clothes, Would always dress in tailored clothes, but he still stood out because it was such a flamboyant era, he recalls. St. Martins joined with Central School of Arts & Crafts in 1989 to form Central Saint Martins College of Art and Design. In 1999 Drama

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arts
Pictures Courtesy of Central Saint Martins Museum and Study Collection

Far left: Prospectus, 1912-1913 Above left: Fine art students, 1920s Above: Millinery class, 1950s Above right: Annual exhibition of students work, 1932

Centre London and in 2003 Byam Shaw School of Art joined the College to create the CSM we know today. The prestige built by St. Martins helped shape CSM into one of the most renowned and revered art colleges in the world. Tangye comments: The talent of the students has created the name of the College. But the philosophy of the College with its foundations in fine art means the students are encouraged to be creative and individual. They are given the confidence to be themselves. In true CSM style, todays focus is on the future. Their aim is to create a new breed of artist, designer and performer for the 21st century. The Innovation Centre: Arts, Communication, Fashion, Design, a

purpose-built space at the Holborn site is testament to the Colleges forward thinking and creativity. The Centre focuses on building links between the Colleges rapidly growing arts and design research programme and the worlds of science, medicine, technology and business to create new products for the future. But for the Innovation Centre to continue to be pioneering, money is currently being raised to develop the second phase of the 4m project, an extension that is to double the existing space. We have approached the London Development Agency to supply the core funds, says Dani Salvadori, Head of Marketing and Enterprise. Its a big investment for the College.

To find out more about the history of St. Martins work, former fine art staff will be included in a BBC documentary to be broadcast this summer about sculpture at St. Martins in the 60s. A new exhibition at Tate Britain entitled This Was Tomorrow will also showcase work of past students and staff among other artists of the 1960s.These forthcoming projects have inspired Central Saint Martins to organise a reunion for former Fine Art St. Martins students and staff, which is set for autumn 2004. For more information on the celebrations marking the 150 year anniversary since the foundation of St. Martins, contact Thembi Morris-Hale on 020 7514 8471 or E: t.morris-hale@csm.arts.ac.uk
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Profile: Helen Amy Murray

From cross-stitch to couture, award-winning textile designer Helen Amy Murray talks to Michael DaCosta about her influences, successes and her tense relationship with commerciality and creativity Portrait photography by Alys Tomlinson

ince graduating from Chelsea College of Art and Design in summer 2002, Helen Amy Murray has experienced a whirlwind of success.Winning several of the top design awards including the NESTA (National Endowment for Science, Technology and the Arts) Innovation Prize and the OXO Peugeot Design Award, she is now turning her attention to the commercial aspect of her business and how to develop and market her work. It was not until I started to produce my final show pieces, she recalls, that I thought these really are quite special and then more importantly that I needed to learn how to treat this like a business. I ask if she thought of setting up a partnership. No, because I wouldnt even know how to do it. I wouldnt know where to begin. Quite obviously I am protective of my work and want to be known for producing it. I am all for it if I meet someone and its Wow, we should really work together, but I dont think that can be forced. I dont mind working on the business side, but it does prevent me from spending time to be creative. The business decisions now facing Murray are indicative of many young designers who are searching to find the right direction in terms of producing and marketing their work. Following her recent participation at

the NESTA Pioneer Programme, for which she, with 11 others, was shortlisted to receive financial assistance, Murray is now re-evaluating her vision for the business. Previously I was thinking about finding a machine to produce my handmade fabrics. The Programme made me think: Why do I want to do that? My fabric is desirable because it is handmade. Now I have the focus and confidence to say that I dont need a

way to mass-produce my fabric. If that happens one day, thats fine. But what really interests me is producing exclusive pieces of work on a couture level using beautiful materials for the high end of the market. The last two years have provided Murray with the opportunities to consider the options available to her. The escalating press coverage has generated interest in her work, but it has required increasing amounts of determination to convert this interest into sales. Between each project, I spent my time working towards a show then receiving press coverage and then thinking: Shit, what am I going to do now? Then I would immediately

Budding

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entrepreneur
I define long-term success as being fortunate to work on pieces and projects that excite me and to retain the uniqueness that my work is all about
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What I am really interested in is making exclusive pieces of work on a couture level using beautiful materials
start work on another show. Im not quite sure how I managed it, because I was funding myself, Murray recalls. Your confidence is up and down because as soon as you have finished, you have to start again. I was working and living in my small flat in East London and felt slightly isolated. Its really hard as you are not even sure if your work is actually any good. Interest in Murrays work came shortly after graduating from Chelsea at 100% Design, one of the UKs leading product design fairs. Her exhibited work was in response to a brief from the UK furniture design company, Morgan. It asked a group of designers to cover one of its dining chairs. She upholstered the chair in a stunning red rose fabric. It was only then that Murray began to realise the importance of the fabric she had created. 100% Design was so amazing because it was soon after finishing College.The feedback was great. People would come up to me and
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comment: This is just so beautiful. I just stood there religiously for five days and didnt move. The chair also attracted compliments from unexpected sources. Even Lucille Lewin commented, says Murray. She owned Whistles and was the Creative Director at Liberty. I didnt even know who she was, but she said that it was the best thing shed seen at the whole show. So I think at that point I realised that I had to continue with interiors and furniture and then wait to see what would happen. Her sculpted floral patterns, applied across a wide variety of fabrics including suede and leather, are inspired from carvings on the exterior walls of the Taj Mahal. While I was at Chelsea, I went to India on a study trip it changed my work.We spent three months visiting different factories and their stitching blew me away and that formed the basis of my thesis, she comments. Ive always been interested in textiles and stitching.When I was

young, Id sit and learn cross-stitch with my grannies. Then I started to experiment with different embroidery stitches and techniques. The versatility of her work is evident from her change of approach for the 2003 DKNY New Designers Show. DKNY didnt want fabrics but wanted pieces of work, she explains. That was why I made the mannequin; it wasnt furniture, because there were lots of other furniture designers exhibiting, and it wasnt fashion as Im not a fashion designer. Consequently, in addition to the mannequin, the red chair went into the DKNY window too. Just a year after graduating, Murray began to win awards for her work. The first was the NESTA Innovation Prize, which was awarded to her during the exhibition as part of the One Year On category at the New Designers show in London. I set myself a ridiculous task of producing a huge amount of work for the show. I produced an installation

where I covered the walls. I made some wall panelling and covered a chair in brown leather with sculptural fabric around the sides.That was a big project and I didnt know that the NESTA judges wanted to talk to me. Then they announced that I had won. That was a real surprise. A more prestigious award however was in the pipeline for Murray. I ask her what it was like to win the OXO Peugeot Design Awards just a few months after the NESTA prize. That was different, she says. Quite a few months went by between applying for the Awards and then being selected as one of the final 12. At that point you really dont think youll win. To me, that was really big and that night was one of my highlights so far, she

recalls. My family and friends came it was really emotional and overwhelming. Suddenly heres the realisation that people want to see your work. It meant that I could get the studio I wanted and I could start talking to my solicitors about patenting my technique. My reputation, brand and my name are going to be as important as my work. I need to find a way to promote my name to the right people. Thats something I have to work on. Her efforts are already bearing fruit. She already has some very high profile individuals as clients. Perhaps, the appropriation by creative practitioners like Murray of marketing terms like brand is the

sign of a new more balanced entrepreneur culture a hint that commerciality and creativity are no longer distant cousins barely on speaking terms. But there is no doubt there is also a magic ingredient required. Irrespective of endless numbers of buzzwords, sustained passion about your work is of course one of the keys to success. It seems fitting then that Murray should have the last word: I want to create innovative, visually aesthetic and conversational works of functional art and design using textiles to cross these boundaries. I define long-term success as being fortunate to work on pieces and projects that excite me and to retain the uniqueness that my work is all about.
17

All photography c Helen Amy Murray

Camberwell College of Arts

How do you look?

When we view a painting, what do we actually see? Camberwells Dr John Tchalenko explains the ideas behind his research featured in a new exhibition opening at Dulwich Picture Gallery this autumn iding on the success of several previous exhibitions exploring visual perception, Dr John Tchalenko, a Camberwell Research Fellow and Head of the Colleges Drawing and Cognition research project, is delving further into the popular subject with How DoY Look, his latest exhibition. ou It stems from a research project with Imperial Colleges Visual Information Processing Group at the Department of Computing and the Wellcome Trust. Opening this autumn at Dulwich Picture Gallery, the new exhibition promises to fascinate gallery-goers

across the UK when it commences its two-year tour in November. Building upon Imperial Colleges cutting-edge research into general human visual search behaviour and surgeons eye movements during laparoscopic (keyhole) surgery, led by Professor Guang-Zhong Yang, How DoY Look explores the parallels ou between a surgeons and a painters hand-eye co-ordination. Emphasis is given to how the mind processes visual information, how this affects experts use of trade tools and how their skills can be passed on to the next

generation.The exhibition draws a further comparison to members of the general public, showing how we use our eyes to view the world around us in general, and paintings in particular.Tchalenko elaborates, Its an observation of how we use our eyes, as eye movements are intimately connected to the brains processing activity.To a certain extent, understanding eye movements informs us how the brain is undertaking a particular task. Explaining the ideas behind the research,Tchalenko comments, We pick out the visual information that we

18

Healing space
Camberwell student Caroline Misch, having won a major 20,000 public sector art commission, will unveil her memorial sculpture this autumn. Misch, a third-year sculpture student at Camberwell, first heard about the Evelina and St Thomas Childrens Hospital memorial sculpture last summer from Steve Bunn, a Camberwell lecturer who organised the commission for his students. Several of us submitted proposals, says Misch. Of these, three were shortlisted and we were asked to create maquettes that were later exhibited at Guys Hospital. From this exhibition, Mischs design was chosen for the 20,000 public sector commission. Working to create a space that preserved the memory of young life, Misch designed three forms of child height, each made of smooth cast glass with a fractured edge and a double helix in its centre, positioned so that they face each other. A six-metre paved circle immediately surrounds the sculpture with seating and landscaping at its boundaries. I was working with the idea of the containment of grief, says Misch. It is a simple design that conveys a presence that is gone, but a presence that is still strong. The sculpture, when completed and installed this autumn, will be situated in the Memorial Garden at Guys Hospital, in an unused triangle-shaped area bordered by pathways and a brick wall. Finding it challenging to get the unity of the site right, Misch used her broad experience to create a design fitting for contemplation and healing.

Above: Normal Vision At any instant the eyes see sharply and in full colour only a small area (left), but the brain fills in the rest of the scene from information captured during previous instants (right). Photograph Luke Tchalenko, 2004. Left: The painters gaze path while drawing line ABCD Red: A to B. Blue: C to D. Green: Reinforce C to D. Portrait of Nick, Humphrey Ocean, 1998

need for a particular task.When preparing to cross a busy road, we fail to see the shops on the other side but we are completely aware of the cars coming towards us.The eye captures the visual information it requires, sends the information to the brain which instructs the leg muscles when to start the forward motion.The same is true for a surgeon when clamping an artery or an artist when painting a models nose.When the artist is concentrating on the nose, he or she does not see any of the other features on the face. Its how the visual system works. The exhibition will attempt to shed light on how people perceive things in everyday life. As the research continues into this ground-breaking area of biomedical science,Tchalenkos starting point is that normal vision, creative art and life-saving operations are dependent on a common biological process, vision. Humphrey Ocean, an internationally renowned artist and visiting lecturer at Camberwell, has played a considerable part in laying the foundations for this investigation through his collaboration with Tchalenko on this and previous projects exploring art and cognition.

The challenge of conveying a complicated scientific subject to a wider art gallery audience has been taken on by art director and leading UK designer, Christian Ksters, a part-time Research Fellow and visiting tutor at Camberwell, under Tchalenkos direction.The pair have decided to organise the exhibition into three, two-metre high towers displaying images and text for each of the three categories the surgeon, the painter and the general public. Ksters is designing the tower displays. An accompanying split-screen film will show side-by-side images of a painter and a keyhole surgeon at work. The How DoY Look exhibition ou stems from several previous exhibitions and years of collaboration between Tchalenko, Camberwell, Imperial College, the Wellcome Trust and other project supporters, such as the Laboratory of Physiology in Oxford. The exhibition opens at Dulwich Picture Gallery on 6 October 2004.The tour commences 22 November 2004 and runs until 31 January 2007. For further information contact Isabelle Egan, Camberwell College of Arts 020 7514 6470

19

Summer Shows 2004

The heat is on
The final year shows will be in full swing across all five Colleges from May until September make sure youre there to see the latest in fresh creative talent

Illustrious illustrators
Many people had a sneak preview of Camberwells Illustration students work this past January at the Ofcom exhibition in aid of St Mungos homeless charity. Many of the works were sold at the event and others have been exhibited at the Stackhouse Gallery in New York alongside graphic artists from Tokyo, New York and the UK. Further exhibitions will take place this year at the National Maritime Museum and the School of Visual Arts in New York. But Camberwells Summer Shows will be the main attraction this coming June. The BA Illustration course at Camberwell approaches visual communication from a wider social and cultural context. It is designed to help students find their original personal voice and point of view. Graduates of the course go on to contribute to the arts community in a variety of ways, as exhibiting artists and freelance illustrators. Building on this success, Camberwell is introducing the new MA Illustration course this coming September.

Style for life

If you missed this years catwalk shows at London College of Fashion, youll get another chance to see the works of this years students. In addition to cutting edge fashion design, on show will be students work from the Schools of Fashion Promotion and Management, including footwear, fashion photography and specialist make-up design and Fashion Design Technology, including costume, technical effects and make-up for the performing arts.

Above: Untitled by Chloe King, 2004 Bottom left: Untitled by Georgia Harrison, 2004 Below: FdA Specialist Make-up, 2003

20

Above: FdA Fashion Styling and Photography, 2003; Right: Tides, Liam OConnor BA GMD Information Design, final year project Far right: The infamous central stairwell at Manresa Road

Forming with fervour

Hanna Tonek is in her third year of BA Ceramic Design. She will be exhibiting her work at the final year shows next month. My show is called A Rush of Plush, she says. I am making a range of porcelain bowls and vases that have embossed wallpaper patterns on them. I love the way the hard ceramic and the tactile plush of flock work together. It is such an unusual and interesting material to work with. BA Ceramic Design at Central Saint Martins explores the different contexts and traditions of ceramics as well as examining and inventing new uses for the medium. The course has formed links with international companies such as Authentics in Germany, Barneys in New York,Wedgwood and the Conran Shop.

Fine art at Manresa Road

Forty years ago Chelsea School of Art moved into its new premises just off the Kings Road. Designed by F B Pooley CBE of ILEAs Department of Architecture and Civic Design, the Manresa Road building custom-fit the number of students at the time. Today, with five times as many students in BA Fine Art alone, it is time to move on. For many Chelsea alumni, the private view crush at the final year shows around the central stairwell and on the landings, holds the strongest memories. Over the years, the number of red dots on private view night has grown significantly. This summer, as ever, you can expect a mix of the radical, the problematic and the challenging. This year is particularly special. It is an opportunity to celebrate the many distinguished international artists who have taught and studied at Chelsea. This is the last year the final shows will be held at Manresa Road, then it will be time for Chelsea College of Art and Design to move on once more, to benefit a new generation of artists and designers in its home next to Tate Britain. To find out dates for all the Summer Shows visit www.arts.ac.uk/events or call 020 7514 6216
21

Design process
The theme for this years BA Graphic and Media Design final year show at London College of Communication is called Process. It seeks to deconstruct the hidden creative processes behind design in areas as diverse as filmmaking, web and publication design. John Brown Citrus Publishing is collaborating again on the project this year, kindly supported by Arts & Business. The exhibition comprises final year work from the areas of study including Illustration, Information Design, and Typo/Graphic Design as well as Advertising, Graphic Moving Image and Web Interactive options.

Thanks a Billion by Hanna Tonek, 2003. A live client project for the Office of Government Commerce. Tonek presented this award to Peter Gershon, who saved the government a billion pounds.

London College of Communication

Bright young things

Many students and graduates from across the four Schools of London College of Communication (formerly London College of Printing) win awards for their work. We caught up with four award-winning graduates to find out how they have progressed since leaving the College Deborah Szebeko, MA Typo/Graphics, 2003 Working at the Great Ormond Street Hospital through LCCs volunteering programme, Deborah Szebeko won the HEFCE Student Volunteering Award for Goshi, an interactive touch screen that provides information for parents of patients when members of hospital staff are unavailable. Goshi are designed to look like little people and are marketed as the first port of call for parents with queries, with staff acting as back-up support. Szebeko explains, The hospital wanted touch screen information points for parents arriving in the middle of the night, as the staff needed support to deal with frequently asked questions. Szebeko has spent the last few months liaising with doctors, frontline staff and
22

parents to research the effectiveness of the screens and the response so far has been good. Testing of the pilot screens will take place early this summer. The project has also recently landed Szebeko a place on the NESTA Graduate Pioneer Programme that teaches young entrepreneurs essential business skills. Szebeko hopes to launch her own design business targeting the public sector. Design in the public sector is weak and doesnt have to be as bad as it is.Working on this project has been a step from study to employment. Ive found a niche in the public sector, she says. Felicia Webb, Postgraduate Diploma in Photojournalism, 1998 Having gained numerous international awards and publication credits for her

work, including the Sunday Times Magazine, New York Times Magazine, Time and Newsweek, 1998 LCP graduate and seasoned journalist Felicia Webb is using her photographic nous to develop two very poignant documentaries on eating disorders and obesity, bringing awareness to worldwide illnesses of our time. Nil By Mouth focuses on anorexia and bulimia and has received great attention in Europe and America, with exhibitions in Sweden and Norway presented in an educational capacity. The response its had is beyond any dream I could have, says Webb. There was an enormous exhibition at the Cultural Centre in Stockholm where they ran medical talks for the public alongside it. The same was done in Norway. The exhibition has had a huge snowball effect. Webb also recently won a grant from Nikon and the National Press Photographers Association in America to broaden her work on childhood obesity, Generation XL.Webb says, My journalism background helped

opportunity and confidence to pursue small ideas that I have without feeling pressured by the industry. Photojournalism is a difficult industry to break into. The awards let you find your feet and develop your style. With the award money and accolades, Purchas is currently developing other documentary stories and thinking of taking on freelance commissions.

Far left: Nil by Mouth c Felicia Webb; Left: Generation XL cFelicia Webb Above: Jason Igniting Daffodils (from London Car Dealers) cLeonie Purchas, 2003 Above right: D&AD award-winning work by Rihwa Ahn, 2003

because I knew what kind of photographer I wanted to be.You have to be good at picking stories and know how to develop them because you have to publish them. I do less freelance work than I would normally have to. Ive been fortunate to do the work I love to do by funding it through awards. Rihwa Ahn, BTEC 2D Design Software, Creative Media Programme, 2003 Ahn works in Tokyo at the advertising agency Dentsu Young and Rubicam. She won First Prize in the 2003 D&AD Student Awards in the category Poster Advertising. The subject was 'New Deal for Musicians', part of a government package to provide the unemployed and physically disabled with work opportunities in the music industry. The objective of my work was to encourage the disabled to move their minds into action. My intention was to give images of disability a positive tone by using movement and bright colours. She found inspiration for her award-winning idea while walking down a London street. At first, I wanted to use images of music and

some symbolic goods for the disabled, such as dark glasses, white canes and wheelchairs. Then, when I was walking down a street in Holborn, I came across a blind man walking with a white cane.When his cane reached the raised pavement bubbles, I was reminded of musical notes. Leonie Purchas, Postgraduate Diploma in Photojournalism, 2003 Leonie Purchas recently won the Sunday Times Ian Parry Award, the Metro Bursary Award and the Tom Webster Award for her photo essay, The Labours of Hercules, her final year project. No one knew it would have this success, comments Purchas. I won the first award and then it started escalating. Mentioning that the main character, Alex, has since died, Purchas photographed the funeral and added the photos to the story. Alex wouldve been smiling to be in the Sunday Times. Purchas also featured in the PDN 30, an American photography magazines list of 30 top young photographers, for her photo essay, The Shoot. Winning these awards is an amazing opportunity to get funding for my work. It gives me the

Award-winners from the Schools of Marketing, and Printing and Publishing Marketing
Valerio Terrerio
The Media Vehicle Award

Suzy Pickthall
The Worshipful Company of Marketers Award

Anne Molloy
MindShare Media Management Award

Alexandria Terrire
Antony Koziol Award

Jan Varela
Quiet Storm Creative Management Award

Printing and Publishing

Krunal Shah, Patrick Wokarac and Naomi Simmons
J.M. Dent Bursaries

Musie Zeweldi
The Nelson Award

Andrew King, Hope Grant and George Marsden-Smith

Woodgate Stevens Awards

Ibrahim Kalash
London Master Printers Association Award

Ivanka Kutner
George Goodman Award

Paul McNulty
Blue Riband Cup for Excellence in Printing and Publishing, Daily Mail Student of the Year

23

Chelsea College of Art and Design

Location,
H
ows the building going? Walked past the new site looks really exciting! Next autumn, really? These are the three most common forms of greeting from friends and acquaintances since I arrived at Chelsea. Of the three I strongly prefer number two.The first triggers a response that makes the patter of a double-glazing salesman sound like epic poetry. I can comment, at length, on the flange and the fixing with footnotes on door furniture that have resulted in dinner invitations being issued with strongly-worded conditions that conversation never ventures into the realm of the construction industry. The third is just enough to plant that seed of doubt in my mind that has me wandering down Atterbury Street in my pyjamas, with the dawn chorus for company, seeking consolation in visible
24

location,location
Head of College, Professor Roger Wilson, reports on Chelseas imminent move to Millbank

evidence of progress. Of course this isnt a new building. It is a site with a history receiving a new occupant with an equally extraordinary past. The art school is a space saturated by expectation and anticipation. It is not a homogeneous, empty space.We are not starting from scratch. The planning and preparation process has necessitated a balancing of established strengths with informed anticipation of our future. The move is as much about transporting attitudes as physical resources.We have used the move to reflect on our future. All of those underlying assumptions are open to interrogation, carrying forward that Chelsea spirit of innovation and risk. An increasing itinerancy of students and staff brought about by conditions of study, patterns of employment and the perpetual restlessness of cultural

production asks questions of the design and management of space. Millbank must reflect the importance for students and staff of social spaces, sites for exchange and opportunities for exhibiting work alongside the familiar workshop and studio.We have identified project spaces across the site to be used for planned events for students on all of our courses.We are particularly keen to amplify staff research within the College and outwards to a wider public. Chelsea continues to attract some of the most talented, influential practitioners and our identity is strongly influenced by these individuals. Millbank must continue that Chelsea tradition of attracting and promoting the best and most challenging work. The character of the building, mixing formal spaces with adaptable areas, creates an opportunity for

bringing national and international events to Chelsea, alongside regular displays of current work by students and staff.We also have a great location for celebration and we intend to follow our last alumni event with a housewarming at Millbank. We have been discussing our plans with colleagues at Tate Britain, working together to arrive at events both to mark our arrival and establish the basis for a sustainable relationship. Collaborations between national galleries and an art academy are not exactly new, but this is the first time in this country that we have been given the opportunity to explore the interrelationship between our institutions with shared interests in the development and appreciation of creative talent. Similarly we continue to talk to our new neighbours in Westminster and Pimlico in

anticipation of the invigorating impact of Chelseas arrival. At the site we are still using the Royal Army Medical Corps building names to describe locations.Your views and proposals are invited as it seems incongruous to continue to refer to the Married Quarters Building, the Officers Mess or the Barracks. Moving will be a challenge: completing the emptying of buildings and decommissioning of equipment, whilst minimising disruption for students, then getting used to a new environment and facilities. It will also be a wrench for many staff with powerful attachments to current buildings and locations. Even the most positive and optimistic of us will feel some sense of loss as we sever our connection with the physical sites of Chelseas past. So this years end of

year shows have a special significance, as will the following years exhibition at Millbank.You are all invited to mark both occasions with us. I look forward to seeing you all at these shows: by then the Millbank site will be visibly taking shape and any doubts will be more than displaced by sheer excitement at this new phase in Chelseas history. Come along and join a party to say goodbye to each of the Chelsea sites. For details call 020 7514 7604 or email alumni-association@arts.ac.uk The Students Union is keen to hear from alumni in regards to past Student Union officers and activities to help create an archive about Chelsea. Contact: Lloyd Sampson, Students Union, University of the Arts London, 2-6 Catton Street, Holborn,WC1R 4AA. E: l.sampson1@chelsea.arts.ac.uk
25

Noticeboard

Where are you now?

We want to hear from you. If you have any news or would like to publicise your forthcoming exhibition or events, please let us know
Artemis Yagou
(MA Industrial Design, 1991)

Camberwell College of Arts

Ilinca Cantacuzino, Elaine Stephenson and Frances Skittrall
(BA Painting, 2001)

All share a studio in Greenwich.They are holding their next show together at The Green Space Gallery, East Dulwich from 18 May - 12 July. For further information visit www.ilinca.co.uk. Tamara Garvey
(Foundation, 2002)

Yagou has completed a PhD in Athens, Greece, where she is currently based. She teaches for the private college AKTO art and design, conducts research on the history of Greek design, and is International Corresponding Member of the Design Research Society. Liz Olver
(BA Jewellery Design, 1996)

Garvey has been accepted to the Savannah College of Art and Design in Georgia for the Master of Fine Arts programme in Painting.

After a long relationship with Central Saint Martins as student, technician and then senior lecturer for BA Jewellery Design, Olver is now Product Development Manager for De Beers LV working with Creative Director, Reema Pachachi, also a former CSM student. Mads Monsen
(BA Graphic Design, 1999)

Central Saint Martins College of Art and Design

Veronica Bailey
(MA Communication Design, 2003)

Bailey is exhibiting with The Blue Gallery at Photo-London 2004, London's first annual international photography fair, featuring images including TheWars Best Photographs (below left) organised by PLUK from 20 - 23 May at the Royal Academy of Arts new space at Burlington Gardens. Winner of the Jerwood Photography Prize 2003, Bailey will also be exhibiting at The Custard Factory, Birmingham 10 - 30 July and at Stills Gallery in Edinburgh 31 July 19 September. A catalogue of her prizewinning work 2Willow Road (below right) can be purchased through the Blue Gallery at www.thebluegallery.co.uk For more information visit www.photolondon.com or call 020 7839 9300.

Monsen is currently living in Ho Chi Minh City,Vietnam and is a magazine Art Director on a monthly publication, rated as the number one magazine in the Vietnamese market just a year and a half after it was launched. In his spare time he undertakes commercial photography assignments as well as reporting stories from charities in order to raise both awareness and funds for them. Steven Sin
(BA Fashion Print, 2001)

Prince Right On, Sarah Doyle

Catherine Johnson
(BA Fine Art Film, 1984)

The former Royal Literary Fund Fellow at London College of Communication has recently spent a month in Malawi working for the British Council. Johnson is also the screenwriter of the forthcoming film Bullet Boy due to be released in September and her next novel Lucky is out later in the year. Sophie Outrams
(BA Fine Art Film, 1984)

Sin has been running his own shop in Soho called OMYGOD for two years. He has recently been invited to show his collection for the second time in Malaysia at Kuala Lumpur Fashion Week.The show features work by Malaysian and Asian designers from Hong Kong, Singapore,Thailand and India. Visit his website at www.omygod.org.uk or contact him at sin@omygod.org.uk. Sarah Doyle
(MA Communication Design, 2003)

Outrams last film Floating was shown at University of Westminster's celebration of Experimental Film in January this year. She starts work on a new film in the summer. Lance Charlton
(Diploma, 1993) and

Tomoe Kurokawa
(Diploma, 1992)

Doyle is currently working on an in-store exhibition in Japan in May 2004 for the Japanese art and fashion store And A.To see her artwork and find out about her forthcoming exhibitions and events visit www.sarahdoyle.co.uk. 26

Charlton graduated from Byam Shaw School of Art Diploma course in 1993. In 1995 he married Kurokawa (who also studied on the Diploma course, graduating in 1992). In 2000 their daughter Elika Lucy Anne Charlton was born. Charlton is currently undertaking a 12-month pupillage (to train

as a barrister) in the Chambers of Sibghat Kadri QC. Kurokawa is continuing to paint. Barry Hobson
(BA Fine Art, 2003)

CEDRE activities. Contact Jacques at benjy50@hotmail.com or 13 Cite Voltaire, 75011 Paris tel: +33 (0)6 72 43 54 07.

London College of Communication

Alex AJ Festinese
(National Diploma Graphic Design, 1998)

Since graduating from Byam Shaw, Hobson lives and works in Kronberg, north of Frankfurt. He has started a few projects involving photographic installations. He has joined the Frankfurt branch of the German artists association BBK and has two group exhibitions in Frankfurt this summer. Departure - Arrival runs from 23 April - 16 May and Horizonte which runs from 4 - 27 June at the BBK Gallery in Hanauer Landstrasse 139, Frankfurt.

Festinese has just finished shooting his first short film, based on the monologue of a mixraced young man who is studying to become an historian. Passionate, witty and heartwarming, the work has entirely been shot on HD camera and it will be entered in several international film festivals.
CEDRE, Jacques Abelman

Rune Salvesen
(BA Journalism, 2001)

Jill Fanshawe Kato

(BA Painting, 1963)

Zug, Barry Hobson

After graduating in painting from Chelsea School of Art, Fanshawe Kato studied ceramics in Japan for four years and has subsequently exhibited her pottery in France, Korea, China, USA and widely in Britain. She will be exhibiting her work in the Contemporary Crafts at Kenwood exhibition, at Kenwood House Orangery, Hampstead Heath, NW3 from 13 May - 13 June.The exhibition is a group show organised under the auspices of English Heritage.

Salvesens first novel (with a working title of Pur Morgen) is being published this autumn in Norway.The cover will be designed by LCP BA Photography graduate Stle Eriksen. Philippe Ruttens
(Certificate in Prof Photographic Practice, 2003)

Ruttens has moved his photography business from London to Sydney, Australia. His fashion, portraits, still life and reportage work has been published in various magazines such as Front, MarketingWeek, Asiana, websites and exhibitions. Find out more at www.ruttens.com. Polly Braden
(PG Dip Photojournalism)

Chelsea College of Art and Design

Jacques Abelman
(MA Design for the Environment, 2002)

Abelman is a former Chelsea student now based in Paris and is starting a non-profit organisation called CEDRE (Center for Experimental Design and Research) for interdisciplinary projects in architecture, fine arts and design, relating to emerging trends and environmental concerns. He plans to run a summer programme in a chateau in eastern France with artists in residence as the central activity of this organisation as well as putting on expositions in Paris.This year's participants include several painters and architects, as well as a filmmaker and poet. He is interested in networking with other alumni who may wish to participate in

One of the winners of the Jerwood Photography Prize 2003, Braden will be exhibiting alongside Veronica Bailey at The Custard Factory and at Stills Gallery.

Jill Fanshawe Kato

Andrew Collins
(BA Graphic Design, 1987)

Collins latest book, Heaven Knows Im Miserable Now is to be published by Ebury in July. Described as a sequel to his humorous childhood memoirs Where Did It All Go Right?, the book deals with his college years, specifically his three years at Chelsea School of Art.

Made in China, Polly Braden

27

Edgar Martins
(BA Photography, 2000)

Also a winner of the Jerwood Photography Prize 2003, Martins will also be exhibiting at The Custard Factory and Stills Gallery. A book illustrating Martins prize-winning work can be purchased through the Moth House at www.themothhouse.com. Naglaa Walker
(BA Photography, 2001)

Walker, Jerwood Photography Prize Winner 2003, will be exhibiting at The Custard Factory, Birmingham 10 - 30 July and at Stills Gallery in Edinburgh 31 July - 19 September. Naglaa Walkers book, On Physics, will be published in September in the UK and US by Dewi Lewis Publishing.

Laura Jane Preston

(BA Fashion Promotion, 2000)

Accessories, Polly Isabella Aldous

Having finished her BA Fashion Promotion course, Preston is now a freelance style writer for wgsn magazine. Christine Tsang Wong
Strong Interaction (Quantum Chromodynamics) From the series On Physics, Naglaa Walker (Access Fashion Promotion and Media, 2001)

Tsang Wong is now living in Shanghai, China. Since completing her course, she

worked as a freelance stylist, writer and fashion editor for Vision Magazine and Harper's Bazaar (Chinese edition). She has now joined the new Elle Deco Chinese edition and is working on the launch issue.Tsang Wong plans to eventually to set up own fashion PR agency. Polly Isabella Aldous
(BA Design, Marketing and Product Development in Footwear and Accessories, 2002)

London College of Fashion

Louise Marshall
(BA Fashion Studies, 1998)

Marshall is now the Associate Producer on the programme Home in the Sun. Ruby Shepheard
(BA Fashion Promotion, 1998)

Aldous has exhibited her accessories range within the Atmosphere section of Pret-Porter Paris in March. Atmosphere is a sector dedicated to designers who inspire todays fashions and dictate tomorrows trends. Sarah Bentley
(BA Fashion Promotion, 2002)

Shepheard is the Style Editor of Sneak magazine. Liz Hancock

(BA Fashion Promotion, 1999)

Following completion of her BA Fashion Promotion course, Bentley became the Fashion Editor of Jockey Slut magazine. Lyndon Gabuat
(BA Design and Technology for the Fashion Industries, Menswear, 2003)

Hancock is Beauty Editor of iD magazine and works freelance (beauty) for V ogue. Eunju MacMahon
(MA Fashion, Design and Technology, 2000)

Gabuat is working for fashion designer Ziad Ghanem.

Since MacMahon completed her MA, she has worked for Fake London as a Womenswear Manager. She started her own business in January last year called Onjoo Mac, a ready-to-wear designer label. She has shown her third collection at the Metropolitan hotel during London Fashion Week in February and at Atmosphere during Paris Fashion Week in March. Contact MacMahon at info@onjoomac.com. 28

Collection, Eunju MacMahon

E: alumni-association@arts.ac.uk T: 020 7514 7604 F: 020 7514 8179 Alumni Association University of the Arts London 65 Davies Street London W1K 5DA

Short courses

Courses: la carte
School, a Peckham secondary school for children with severe learning disabilities also felt that life drawing classes would help develop their existing skills.The course was arranged through the Creative Partnerships initiative and Camberwell College of Arts. 'It was a way to return to basics in sharpening our observation skills. It was an opportunity to analyse the way we look and see what we, and the students, are drawing,' says Andrew Hinton, Project Manager at the School.The course succeeded in improving staff confidence in using a wider range of art materials, making for a more dynamic and varied approach to lessons. London College of Communication devised a one-day tailor-made training course for the copywriting team at Freemans that focused on the use of formatting text in QuarkXpress. Sheila Heath, HR Officer, echoes Hintons sentiment, In some cases new knowledge was acquired, but in others it reinforced and reminded the teams of their existing skills. The team [together with the graphic designers] found it very beneficial. In placing the two groups together, they learnt about the problems experienced by each other. Tailor-made professional training can provide key skills from a diverse range of subjects to help develop business needs, further career progression or facilitate a career change. For more details on professional short courses at University of the Arts London, call 020 7514 8192 or return the attached card to the address provided
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Whether you want to learn a new skill or develop your existing abilities, tailor-made short courses could be the answer hoosing Chelseas intensive course in interior design, Theresa Smith of moochdesign, an award-winning company that specialises in commercial interiors and design, decided to further her professional development. The course gave me a portfolio, independent of the work my employers were doing and the confidence to start my own practice. It meant I could explore my own ideas. It was a great boost and a unique opportunity to grow creatively, she says. Smith is currently attending another course at London College of Communication to develop her knowledge of the Vectorworks CAD programme which she uses in the design process. Seeking to increase knowledge, interest and vocabulary of fashion products, Jane Leadbetter, Harrods Education and Development Senior Manager, approached London College of Fashion to educate and inform its sales associates of the fashion cycle and

increase awareness on the evolution of fashion trends, in order to offer an improved service to its customers. The course took place over seven modules, says Leadbetter. We were taught one module a month in an afternoon per week. During this time, the team learnt about many aspects of fashion including the historical context, fashion design and personal styling. WCRS, a creative advertising company, took a different approach. It wanted to improve existing technical skills and increase visual awareness and communication. A group of 12 employees attended a life drawing course at Central Saint Martins. The team had a range of creative abilities, comments Helen Denney, HR adviser. They discovered a fresh approach to visual communication, realising that there are many solutions to one problem.Training outside of the working environment in a subject that had a wide appeal has helped to achieve that. Teachers and support staff at Tuke

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