To find out more details about the transfer to The Open University see A New Chapter for OCA.
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Earth Day has its 50th Anniversary this year, and we invite you to join us to mark this significant day. At these times of self-isolation, online interaction and social distancing, we take a moment to celebrate, share and explore the creative possibilities of the home-garden work space.
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Your choice of words, ‘active slow-creative journey’, really resonates. I feel that there is a direct link between the length of time I have been allowed to engage with this learning experience to its fullest extent at my own pace and how much of that acquired knowledge I’ve durably assimilated and integrated into my own creative practice.
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Creative Arts level 1 student, Ramona Mason, has employed text, place and a personal perspective of her life in London to significant effect in the completion of her work on Printmaking 1. I spoke to Ramona about her prints, at the start of her creative arts journey, and wanted to share these with you now.
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I enjoyed the way that art history and context was interwoven throughout the course. As each unit was presented, different artists and works were introduced in a way that was relevant to the project at hand. I found this to be a refreshing approach, in contrast to a timeline-based introduction to the history of art.
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Interdisciplinarity – is the study of two or more disciplines alongside a critical engagement with subjects in the wider world, that aims to communicate connections through thinking and practice. So, why might we need to engage with the wider world as part of interdisciplinary thinking? As we look beyond the confines of a Western orientated art history towards ideas and influences that emerge from a context of globalisation and cross-cultural engagement, creative artists respond to this in a variety of ways and some common strategies emerge.
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With such a large multidisciplinary group, I wanted to start the day with a lecture on ‘Global Perspectives in Contemporary Creative Arts’. I’m aware that teaching and learning around a historical context for the arts can have a Western bias that feels out of touch with the much broader globalised discourse that is happening today.
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Being elected a member of the Royal Society of Sculptors is both professional validation and also a chance to expand my network of support.
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I began the morning asking students what they thought drawing could be beyond the traditional skills they might have learnt. Some keywords emerged that acted as a guide for the exercises, including drawing as invention, play, process, action, memory, language, non-art, materials and generative.
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The idea of art and design as an agent for social change is vital if we relate it to contemporary debates and approaches that artists are adopting in these effervescent times.
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There are many challenges for students to overcome through distance learning; engaging with other likeminded students to create your own peer network has to be one of the trickiest. I believe that if students can find the time, the use of OCASA funded workshops has to be a tangible benefit to a student’s learning across all programmes.
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