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What is the research about?

Applying a set of criteria and recording their outcomes in order to understand a general hypothesis around the idea of teaching and learning art. The research allows for a hypothesis of evolved and evolving criteria can be considered under the specific conditions of this art school with the particular people involved. There is also the potential to extrapolate from these conditions and reflections into other similar scenarios as well as to broader overarching ways of thinking about art education.

Why do this research?

The research is a way of putting artists' practice, with the particular conditions of this community art school, under a reflective spotlight. 

It is an opportunity to highlight the goals of individual artists operating through the conditions of their own experiences or phenomenology in relation to the systems and processes of knowledge about art and art production, the social and cultural framing of art with the research critically addressing the practical and intellectual facilities available to artists under these conditions.

Genesis of this research?

The research is a response to being both an artist and a teacher of art. The genesis of the projects comes from teaching art in Further Education colleges. The broad intake of FE colleges means in the morning a lecturer might be teaching FdA students and in the afternoon teaching BA degree students, the same topics in the studio space, in the afternoon. The research in broad terms, is a critique of a universal approach to teaching both these groups that, I suggest, does not respond to the different phenomenology of students' experience.

This initial premise has developed into a research project that is applied here to the art school and has developed layers along the way.


The transfer from the FE experience to our situation in a community art school is to draw on criteria that generically applies to individual artists.


The criteria:

  • the personalised search for a personal language of art

  • making art personal as an immersive way to make art personally relevant

  • addressing key elements of art practice through production, that address often difficult to address such as subject matter and composition

  • using the histories of art for their direct potential to influence an individual artist's esoteric practice.

  • use technology to support art practice when required


The research methodology draws heavily on Giles Deleuze and Felix Guattati's writings for their pragmatic philosophical devices that coincide well with the drive of the creative artist to perpetually invent and develop the conditions and outcomes of their practice. 

Your involvement

Is as much or as little as you like. Generally the workshops continue with the criteria that I generally use in my teaching practice, the difference is that I review and record in a more exact way that allows me to consider the whole process in the round

formal assessment - meaning that I look at and discuss your art with you. Going forward I make more notes etc


A few thoughts:

  • Michael English and hyperrealism 

  • Tate Modern caretakers trolley

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