A Place for Painting
(2016)
author(s): Andreas Siqueland
published in: Norwegian Artistic Research Programme
My practice as a painter deals with notions of repetition, displacement and reenactment, often in relationship to nature. From 2009 to 2013 I was enrolled in the Norwegian Artistic Research Programme at the Academy of Fine Arts in Oslo. Through the fellowship I wanted to learn more about the particular circumstances that influence the decision-making taking place on the canvas. I decided to go on a search for A Place for Painting.
For many years I used photographs as a way to remember landscapes. I would use them to go on extended journeys in painting. With the advent of the digital age, the time between taking and developing and distributing images collapsed. At the same time, I saw my paintings gradually shifted in character. It felt as if there was lack of presence in the brushstrokes. I associated this with a dependency on the photographic medium as a model and source material for new painting. Photography seemed to disconnect me from observing what was actually happening on the canvas and how this was related to the outside. To make my experiences visible, I needed a more direct translation of the world. I imagined a search for a place for painting to rediscover the connection painting has to its surroundings. This led to a series of journeys to see how changes in geographical location would influence my work. As part of the investigation, I returned to the tradition of plein air painting. For me, this felt like the most direct way in which I could study how painting interacts with a physical place, while also addressing the subject of place in painting.
Plein air painting necessitated working outside the architectural constraints of the studio. The variables of the outdoors raised fundamental questions about color, light, composition and the act of painting itself. I began experimenting with different studio models that I hoped could open up new relationships to nature and new modes of production. To further explore this repositioning and the interactive relationship that resulted, I decided to build a mobile outdoor studio using my own loft studio in Oslo as a model. The result was Winterstudio. This essay gives an account of the research and thinking that informed the building of this structure, the experience of working within it at two different locations and its subsequent influence on my work in the studio in Oslo. The focus is on a contemporary painting practice, but should be relevant to anyone interested in exploring the conditions and context of artistic production today.
Parallax (House for an artist)
(last edited: 2024)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape.
Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.
Super Juicy Atelier week
(last edited: 2023)
author(s): Andrew Bracey
This exposition is in progress and its share status is: visible to all.
The studio Atelier is an updated and short term atelier residency that replaced formal scheduled teaching with the aim of teaching by demonstration. Rather than formal demonstrations, students observed informally and asked questions that were of relevance to their own practices, or just of personal curiosity. There was no obligation for them to engage with us, but our presence and work was unavoidable, as we were based near the entrance to the studios. Rather than creating a purely hierarchical relationship, feedback from students reported that they felt we were more approachable, had more time to discuss artmaking, and that they viewed us more as fellow artists than teachers during this period. The mood was friendly and convivial.
studio Culture
(last edited: 2022)
author(s): Andrew Bracey
This exposition is in progress and its share status is: visible to all.
The ground-breaking pedagogic research project will elevate the function and usability of the MA fine art studio, and to instil a greater and more effective studio culture. We will do this through a two-phase project, in one staff will demonstrate best practice and students will reflect and evaluate this in regards to their own studio use. In phase two students will replicate what has been demonstrated for their own studio activities. Both phases will be recorded using stop-motion cameras to enable us to study the time and space usage.
The innovation of the project is to give a heightened sense of professional studio activity to and for students, by the direct observation and dialogue with their course lecturers. Tacit knowledge of studio practice has always been integral to art practice and pedagogy, but never formally or quantifiably studied or recorded. We aim to make students actively aware of this through the observation and evaluation of how lecturers use the studio, allowing them to view what is currently hidden as lecturers have studios off campus. The intended impact is that they will productively improve their own studio activity on the MA course and beyond as they become professional artists.
Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape. Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.open exposition comments (0)
The studio Atelier is an updated and short term atelier residency that replaced formal scheduled teaching with the aim of teaching by demonstration. Rather than formal demonstrations, students observed informally and asked questions that were of relevance to their own practices, or just of personal curiosity. There was no obligation for them to engage with us, but our presence and work was unavoidable, as we were based near the entrance to the studios. Rather than creating a purely hierarchical relationship, feedback from students reported that they felt we were more approachable, had more time to discuss artmaking, and that they viewed us more as fellow artists than teachers during this period. The mood was friendly and convivial.open exposition comments (0)