The Creative Arts Showcase is now in its third year and is an end of academic year presentation from our students. We thank all our students who chose to participate and for their enthusiasm in putting forward their work this year.
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The Architecture Room at the Royal Academy Summer Exhibition has been curated this year by architect Peter Barber. The work on display shows enormous variety in approaches to spatial model making, and underlines the necessity of using this hands-on physical method of design development as a way of experimenting freely and creatively.
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Join OCA student Sue Parr for her exhibition in Eype Centre for the Arts, nr Bridport on Saturday 29th July 2023 at 11am for an artist talk and live performance.
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I am delighted to launch this exhibition; Explorations in Drawing, Painting, Mixed Media, and Technology; at The Best Little Virtual Gallery hosted by Artsteps. As a peer critique group, we have been meeting monthly on Zoom to present and discuss our work and support each other through what is a very long period of study with many ups and downs.
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A small but dedicated group of painters spent a drizzly afternoon in Huddersfield looking at the latest instalment of the Contemporary British Painting Prize, before it moves on to Thames Side Studios in London.
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OCA student Dhama reviews a recent study event in London to two OCA student degree shows.
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Last week I was lucky enough to have tickets for the Open House Festival, to pay a visit to what will be the new Quentin Blake Centre for Illustration.
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OCA tutor Hayley Lock has curated a new show in London – Frequencies (for healing) – open now until mid June.
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The MA Fine Art course offered by the OCA is a cohort-oriented postgraduate course that results in a group exhibition of work. This year twelve students from the UK, Northern Ireland, Cyprus, Sweden, Austria, Italy and the USA all showed their work at The Civic in Barnsley under the title ‘Duodecimal’.
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Until around 20 years ago, it was possible to determine a comics artist or illustrator’s national and cultural origins from their aesthetic – from the elements of composition, mark-making, gesturality and myriad other aspects of image-making that comprised their personal visual language. Now none of these origins can be taken for granted. The fundamental question this raises is about the future of design and illustration generally – is the increasing similarity of visuality a ‘good thing’ or not?
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