Edinburgh College of Art is buzzing. It’s the press, family and friends opening of the 2015 Degree Show. I’ve got two hours, plenty of time to see it all I ambitiously think to myself as I set off in the direction of the sculpture works. I soon come face to face with a man walking around Jerry Maguire style in his undies.

“Did you lose a bet?” I ask nodding towards his lower half.

“No,” he replies deadpan, “I’m re-enacting a performance piece from second year.” He hands me a card with Nappy Man National printed on the front and walks away. It was Alan Trashmouth Records formerly known as Alan Kerr (he sold his name to a record company for £200). The RSA Contemporaries 2016 Selected Artist printed famous artworks onto toilet seats as part of his degree show installation. Does this draw attention to the commercialisation of art or is it more toilet humour gone awry? If you can buy an iPhone cover with Van Gogh’s famous Sunflowers on it from the National Gallery, why not a Turner toilet seat?

Alan Kerr

The next work to catch my eye is Alice Chandler’s wonderfully composed installation. Reminiscent of Karla Black’s works, Chandler has used steel, plastic, fleece and paper in a playgroud-esque situation. She has a strong understanding of materiality, colour and composition and is also an RSA Contemporaries 2016 Selected Artist.

Rail and Cloth by Alice Chandler

Installation detail by Alice Chandler

Sky Su’s interactive video piece projected a CCTV-like image onto the wall of those in the room. The data was coded and a programmed delay caused a duplicate of yourself replicating your past motions. It is an enjoyable work and a rare moment of fun for art-goers amongst the passive experiential works. I begin to think of data and image in the digital age; ownership of an image and the reflected-self. Just as it was all becoming a bit too overwhelming for a Thursday evening, the image on screen began to scramble into oblivion. That was my cue to move on. So much more still to see.

I move onto the painters and stop at Karen Fleming’s work, remembering we’d featured it recently on Central Station. It is much more impressive in the flesh and I stand in front of it for some time. Another painter to check out is Sarinda Devine. She has created a small ‘world’ upstairs within a colourful and fun installation. It reminds me of the jungle in the Zebraface Random Acts by Kid Acne.

Karen Fleming

Sarinda Devine

Using a completely different style and technique, RSA Contemporaries 2016 Selected Artist Daryl Shaw McKee explores line and colour using a scientific process of experimentation. She translates 3D spaces into 2D paintings resulting in Tron-like cyber grids.

Daryl Shaw McKee

Finally, photographer Mark Osborne’s work has been selected for the ECA Art Collections Purchase Prize whereby the University seeks to acquire works that represent the artistic output of the art school. I would acquire it myself if I had the chance. I saw his potential a few years ago when he was featured on Central Station and it’s great to see how much his work has developed since then. His abstract photo series analyses light, space and form; presenting the photograph as a considered object for gallery display. The photography graduates also benefit from moving into a more senior role in the established ECA collective, SOFTBOX. This is an ever-expanding network maintained by ECA undergraduates established to encourage collaborative practice, share opportunities and assist with events.

Mark Osborne

The bell rings and I realise I am suddenly out of time. I regret not getting the chance to see the work from the school of design. However I did grab a publication of their work on my way out and it looks exceptional.

The Edinburgh College of Art Degree Show 2015 continues 11am-5pm daily until Sunday 7 June and includes two late openings on Wednesday 3 & Thursday 4 June from 11am-8pm. For more information, please visit here.

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Please visit here for more Degree Show reviews on Central Station.

Richard Phillips-Kerr considers himself a digital native, rather than an immigrant. Driven by a passion for technology in his creative practice, this carries over to his professional life as co-chief of sales/marketing/social/merchants/growth/partnerships/ambassadors/support for Droplet, the mobile payment app. He graduated with a degree in sculpture from Edinburgh College of Art earlier this year.

I sit in a small, dark, cupboard-like room all day, every day. Once an hour, I turn on my laptop’s webcam and talk into it, narrating the end of The Sims Online. Next door, my pale webcam-face is projected live onto my even paler life cast. On day 6 of my degree show, while staring at people prodding my plaster cock through 3 CCTV monitors, a young man messages me. He used to DJ at club night I ran and asks if I know anyone in Edinburgh looking for a job.

Apollo, RIP The Sims Online

I wanted to work in video games. My creative practice served as a means for me to repackage and relive significant ‘virtual’ events. Events which take place in gaming worlds: the death of players, digital apocalypses, social unrest etc.. Pre-degree show I was rejected by 4 video game companies for progressively lower-skilled industry roles, so I said yes to the young man – I was looking for a job.

The Reincarnation of DJ Spike

Avatar. hardened, hollowed, dehydrated

The company I now work for is a tech startup that develops a mobile payment app allowing you to send money to anyone, instantly, securely and for free. In the end, it was all the time at art school I spent not ‘doing art’ that got me a job. Through running club nights and other nefarious extra-curricular activities I knew a lot of business owners in Edinburgh. I was recruited to get the app some traction with these business owners and their customers.

 Droplet (the app) is innovative and the team behind it brilliant. Ideologically, we’re made of the same stuff – support independents, mobilise grassroots movements and disrupt big banks’ financial control. When you become emotionally invested in an ambitious project, it is exciting, rewarding and totally exhausting. So far I have been hired, fired, rehired, relocated, promoted, fired, and finally rehired. I currently work for Droplet in Birmingham.

Since relocating from Edinburgh, I haven’t engaged with my creative practice in any real capacity. I think that’s OK for now. Whereas I was once thinking about how to convey the significance of The Sims Online’s extinction, I now think about how to make our underdog app outplay competitors like Paypal and Barclays. The most recent fired/rehired/promoted cycle has galvanised me to start thinking about art and video games again.

In January, I leave for Sri Lanka and India for 9 months. Whilst away, my degree show piece (Avatar. Hardened, hollowed, dehydrated) will be shown as part of the RSA New Contemporaries 2015.

For more from Richard, see his showcased work here.

Comment below or on Twitter using #LifeAfterArtSchool & mentioning @CenSta with your experience after art school.

Stay tuned for updates from art school graduates all this week. In the meantime see a preview of what to expect from the Life After Art School features here.

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Self-portrait for Movember

Alexander Jackson is a UK based artist, illustrator and writer. He holds a degree in illustration from Edinburgh College of Art. His work has been featured in comics, children’s books, short stories, magazines, newspapers, as well as on forms of commercial art and murals. Here he discusses the realm of editorial illustration work.

Song and Dance Man

Since graduating with my illustration degree I’ve been involved in a number of projects. Most of these projects have taken place within the editorial realm. Shortly upon completing my course, I provided illustration work for The Skinny magazine. I was then approached by The List magazine to provide all of the illustrations for the cover feature of its supplementary guide to the Glasgow Commonwealth Games, which took place last summer. The work featured on the front cover and throughout the guide. As well as this, I have worked on several publications for The Other Publishing Company, providing a number of illustrations for some of their short stories. These will be featured in the newly launched Cracked Eye magazine. Recently, I’ve been approached to provide illustrations for a manuscript for a children’s short story.

Log Lady

Saul and Jenny

As well as the previously mentioned commissioned work, I have been in the process of self-publishing a children’s book called Jenny’s Bath, which I have written and illustrated. It was recently acknowledged by 3×3. I have also been recruited by Phosphor Art agency.

I took part in Saltmarket Design’s Fringe exhibition at the St. Andrews Square RBS building in August. I’m currently planning on taking part in their collaborative show with Redcoat in December. At events such as this and along with my online shop, I’ve been able to make my work available to a larger audience, mostly though selling digital prints of my work. My work is very much inspired by pop culture, character and narrative so it seems to engage with a large mainstream audience. My images have been shared on Twitter by celebrities such as Jonathan Ross and Edgar Wright.

Bill Bailey

Despite originally having trained in traditional painting techniques, my work has a fairly graphical style. However, I have still managed to find private commission work for paintings, and I hope to introduce more painting into my illustration work.

Burns Night

My plans for the future include more editorial work. I find these projects can be somewhat simplistic but with a tight deadline which I seem to enjoy. However, I’m still working on broadening my clientele in order to diversify my portfolio, which should bring in some exciting new challenges and add some variety to my portfolio. I’ve also been working on a manuscript for a graphic novel, which I plan to illustrate.

My advice to anyone looking to get into this field would be to put together a good strong portfolio that is easily accessible. Your own website can be accessed by people very easily and has the potential to make you look very professional. People often ask me where they can see more of my work and having a portfolio website is a great place to direct people. Also a strong online presence whereby people can be kept up to date on new work and projects in progress (via social media, blogging etc) can be effective. It also shows viewers that to have a passion for what you do. Most of my work has come through my online presence and using various online platforms to promote my work.

Comment below or on Twitter using #LifeAfterArtSchool & mentioning @CenSta with your experience after art school.

Stay tuned for updates from art school graduates all this week. In the meantime see a what to expect from the upcoming Life After Art School features here.

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Bryony Strange is a recent fashion graduate of the renowned Edinburgh College of Art where she spent 4 years honing her pattern cutting and design skills and living off of Tunnocks teacakes.

Throughout my final year at Uni I was fortunate enough to show at London Fashion Week in February as part of the Vauxhall Fashion Scout and F.A.D Fashion Futures Award. I also had work featured in both The Times, Scotsman, and The Metro as well as show my graduate collection at the Truman Brewery, East London as part of Graduate Fashion Week.

Since then, however I felt that I needed a bit of a break from the intensity of my final year and so decided to stay on in Edinburgh for a few months rather than move straight down to London with most of my peers. I already had a fair bit of experience working in retail and so I managed to secure a sales position at an upper market fashion store fairly quickly, whilst applying to more design and events related work. Unfortunately, Edinburgh doesn’t have the biggest fashion scene so there wasn’t a great deal of work available in those fields.

I worked my way around this however, and did a few voluntary styling jobs with local designers and small brands. Although the fashion scene in Scotland is relatively small it is also very supportive and a fairly close network. After following key players in the industry on social media, I came across a Managerial Retail and Events position with Scotland Re:Designed for a Limited Edition pop up store supporting new design and talent within Scotland. Although the position is still within retail (something I initially wanted to break out of) it has given me a great deal of confidence and responsibility and requires a great deal of initiative.

Working with Scotland Re:Designed has been a fantastic opportunity which has introduced me to so many key players within the industry both in Scotland and further afield. Now I have had some time away from design, however, I am itching to get back into it and so I am currently on the lookout for studios and design based residencies to create a new mini collection. One of the downsides to the fashion industry is that it can be difficult to break into a paid entry level job/internship and so I hope to gain a larger portfolio of work and experience before applying to assistant design jobs either in the UK or abroad.

I think there is always a bit of pressure to instantly move to London or that the perfect job will appear soon after you graduate, but unfortunately that’s never the case, in creative industries you sometimes need to be a little more proactive. I also think that there’s great potential and support for creativity, especially in Scotland.

Comment below or on Twitter using #LifeAfterArtSchool & mentioning @CenSta with your experience after art school.

Stay tuned for updates from art school graduates all this week. In the meantime see a preview of what to expect from the Life After Art School features here.

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We’ll hear from GSA alumna and fashion designer Kelly Dawn Riot, who recently won the Scotland Re:Designed New Talent Award along with sculptural knit designer Laura Muir, whose cosy snoods have begun to take the internet by storm. GSA Communication Design graduate Steven Swinney talks about taking on the Commonwealth Games alongside his freelance work while fellow ComDes alumnus Cliff Andrade revels in the recent win of the Jill Todd Photographic Prize Award.

Ryan Esson – Air and Space

Duncan of Jordanstone College of Art and Design graduate Samantha Wilson’s drawings and paintings were put on our radar at the DJCAD degree show. In her take on professional life, Wilson talks about seizing opportunity while fellow DJCAD alumnus Ryan Esson considers the less glamorous side of post-art school life and emphasises the value of staying motivated. Also from DJCAD, Ellis O’Connor discusses the difference between her undergrad and her current postgrad degree, as well as the importance of artist residencies for the development of her work.

Bryony Strange

Edinburgh College of Art graduate and fashion designer Bryony Strange writes about the importance of networking and mentoring in the Scottish creative industry. As she details her transition to professional life, fellow ECA alumnus and illustrator Alexander Jackson talks about taking on the editorial realm. Also from ECA, digital artist Richard Phillips-Kerr (who will be showing his degree show piece at RSA New Contemporaries 2015) explains what he’s now doing in Birmingham.

Finally from Gray’s School of Art, award-winning painter and model-maker Catherine Ross and multimedia artist Dominic McIvor reveal their most recent exploits in Aberdeen and Birmingham respectively.

Stay tuned for updates from these art school graduates all next week.

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Before making films and animation I was obsessed with drawing detail. My art teacher at secondary school, Mrs Livingston, wasn’t sure about me making animation, suggesting illustration. She was cool by the way, and very supportive, but for some reason making things move seemed like the hardest and possibly most rewarding artistic thing to do, for me.

2 years later – Princes St Gardens.
I’ve started studying animation at the Edinburgh College of Art & I’m sitting cross-legged with an A3 sketchbook open with a uni-ball fine liner .05 black pen drawing the Scott Monument. I’m finding the idea of drawing in public quite frightening, as generally I’m a pretty quiet guy. A couple of hours have passed and I’m starting from top to bottom, trying to concentrate as best I can. It’s getting dark, so I pack up and leave unfinished.

Thinking about it a lot, I go back continuously when I can to try and finish this picture I’m becoming very attached to. I sit in the same place, and find drawing increasingly difficult as people seem to want to chat to me quite a lot. Finally I finish it, tallying up the hours in my head to around 13 (partially due to distractions you see). Suddenly, I look up at the monument as a seagull swoops down above me. It passes then suddenly shits on my picture. The disappointment is intense.

At this point I was trying to get over my singular drawing thing, and it was actually a good thing that the shit fell from the sky and landed on this one.

This links to other stuff by the way.

What I realised was that the process was the bit I enjoyed about art, and yeah it was a shame to have a bird shit on it, but I could photoshop it out.

In my last year of ECA we were to make a short film, so with limited experience of doing so I decided I wanted to make a film about me struggling to make a film with a difficult (animated) bird character. This film would allow me to work with a process and use it as its subject matter, but play with it and mould it into something interesting and surprising (hopefully).

The Making of Longbird -
The weird thing was that this film starting screening at festivals and people liked it. It was a surprise, but it became a valuable thing to have to show that I could make animation, write a story, and film some live-action. This time I had something at the end of it though. The bird in the film tried to shit on it, but I wouldn’t let him this time.

Since then I’ve been working making animation, writing and directing as much as possible. I regularly make work with Ainslie Henderson under Whiterobot. Here we make online videos, write and direct things, and do commercial work sometimes together, sometimes individually. Sometimes there are seagulls…
We recently finished our new short film ‘Monkey Love Experiments’ run by Digicult & Hopscotch films as part of the Scottish Shorts scheme
funded by Creative Scotland. It has some upcoming screenings at Ottawa International Animation Festival in September, and Encounters down in Britsol also (with others to follow soon).

Day to day I have a studio where I work at Summerhall in Edinburgh. You’ll see me there kicking about.

I’m glad that bird shit from the sky.

This video was originally posted on Art in Scotland TV, which is a contemporary arts-news site run by the Summerhall TV team.

For more about Will Anderson, read about his winning 9.88 film entry here.

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Artist profiles delve into the psyche of the artist talking about daily life, inspiration & art. Read more profiles here. 

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We came across FAIR recently and thought it deserved a bit of attention. FAIR brings together post graduate students from a number of institutions for an art fair with a difference…

What’s ‘FAIR’?:

‘FAIR’ is unique. There is no other art fair anywhere in the world that exclusively exhibits the work of students; students are excluded from participating in such events by virtue of being students. Additionally, students are prohibited from applying for public grants that would enable them to initiate such a project, leaving art fairs at the behest of an established network of art fund investors, collectors and dealers. To break this monopoly, it makes sense for students to establish a community of purpose and build their own fair on their own terms. We hope that this pilot will establish the parameters for future occurrences of ‘FAIR’, both in Edinburgh and in the home towns of our guests. This is the first and only art fair for art students by art students, but hopefully, will be the first of many.

Who’s ‘FAIR’?

The programme of ‘FAIR’ is user-generated, it will emerge from the interests and desires of its participants which, for this pilot event, are postgraduate art students from Edinburgh and their guests from the Royal College of Art, Sheffield Hallam and Sint-Lucas Beeldende Kunst in Ghent. Participants will produce and install their own work in Edinburgh College of Art’s magnificent Sculpture Court. The work-in-progress will be visible to the public. As a means of hosting their guests, masters students Edinburgh’s School of Art have designed an accompanying public programme to run over four days.

FAIR opens Friday 24 February, from 7pm.

Find out more about FAIR here.

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For more creative delights we’ve Spotted on the web take a look here.

Aside from the willingness with which most graduating students accept the de-facto format of ‘degree show’, it surprises me that every year at degree show time, the generalisations that people seem to make about the types of courses offered by art and design institutions get writ large in a strange dividing up of ‘typography’ from ‘ideas’, or ‘concepts’ from ‘craft.’ This chat can become a bit depressing, bar the fact that its hopefully only a few people indulging in it, but it does highlight one particular tension, about ‘what industry wants’, (as some of those in ‘industry’ have a habit of phrasing it).

Of course education and industry (in the broadest sense) should be in close contact and part of a dialogue (also including other external patrons and users of design who are not ‘businesses’) which is mutually beneficial, but the idea that Art Schools and Design Courses would be better off shaping their courses solely to the needs of business would be a massive error, and indicative of a think-big-but-ignore-the-detail type of strategic initiative for which governments, skill-councils and other quango’s are renowned.

Scotland is a small nation, with even smaller art and design courses, and the fact that there is some diversity in the types of course on offer is a massive bonus, and one that students can take advantage of. We are also in the massively beneficial position of being able to offer cohort sizes and staff/student ratios that would make a London student weep with envy. But we need to beware that we’re possibly at the thin end of a very thick wedge (given the recent budget) and its not going to be easy for small specialist institutions to stay small or specialist in the future. It strikes me as strange that when mergers are discussed for Scotland’s remaining independent art schools, its always with the nearest big university and never with each other.


The sinisterly titled D&AD ‘New Blood‘ show, part of the (surely ironicly titled) ‘free-range‘ graduate event (battery farm or zero-grazing anyone?) is a very visual demonstration of just how many creative graduates leave UK courses every year, and how highly many graduates from Scottish courses feature amongst them**, surely an affirmation of the scale and types of courses we can (currently) manage to run. These events (at their worst) are also indicative of the direction art and design education could head if we follow the idea that design courses should be focussed solely on churning out industry-ready and compliant machines. At risk of making a massive historical generalisation, the supposed glory-days of British graphic design, from Fletcher through to Brody and Saville et al. came on the back of a fairly archaic and/or anarchic art-school style education. That we have such strong small courses with their own characteristics, is something to build on, not something to ‘iron-out’.

So the ECA show, (particularly Graphic Design and Illustration as that’s where I spent most time), for me demonstrated (in the same way that GSA, DoJ, Grays and some of the other Scottish university degree courses do) a reassuring view of the design landscape in this north-west corner of Europe. The things that excited me most were the projects (like this CCTV one, by Piotr Klarowski) where students had challenged the visual protocol, tried to find a new angle into a topic, and allowed their time at university (and the freedoms afforded) to produce ideas that might not currently sit very comfortably in the grafik (sic) mainstream. But that’s a reflection of my personal tastes and interests, and, (while I’m convinced it’s those students that will make the most interesting designers, advertisers, filmmakers, artists and so on), I’m equally glad of the students who have produced more mainstream and archetypal work, but executed it with a depth and rigour, as it suggests a course (and design community?) where people with these interests and ideas can feed off each other, challenge each other, and the binary thinking that lurks around the corner can be held at bay for another year.

[I've used some shots of the eca show to illustrate this post, and tried to credit them below — any errors I apologise for, and please let me know, so they can be corrected].
Images, in order of appearance:
Signage
Recycling Centre outside Main Building
Main Hall, Textiles Product Design and Others
Val McLean, Intermedia Art
Stefania Strouza, Art Space and Nature MFA
Graphic Design Entrance
Piotr Klarowski, Graphic Design, CCTV Project
Assorted Business Cards
*Thanks to DC and KD for the lend of this turn of phrase.
**Though we’d do better to look at the international context rather than the national and work out whether we’re any good or not.

The day started by heading to Queen Street Station for half 8. For someone who has just introduced the concept of weekends back into her life after year and a half getting up early on a Sunday is not that strange. When in Edinburgh, Kaye (who is also part of team) and I found our way to Novotel beside ECA for our shift at Censta hub as part of Edinburgh International Film Festival. After setting up and making the table all lovely with posters, flyers and badges (my goodness, those posters didn’t want to stay up), our job was to introduce the site to people taking part in Digicult’s Red or Dead talks, answer any questions and encourage people to blog about their EIFF experience. All went well. People seem to be enjoying the talks and chatting to each other between the talks.

My shift finished around 2pm and I decided to visit Edinburgh College of Art and their degree show as I had some time to kill before getting ready for Sound : Image : Art and the afterparty. The work I managed to see was all of high standards including some very interesting pieces such as 3D fabrics, educational software about ‘making sex’ and gorgeous performance costumes. Oh, and a moustache on a stick. I liked that.

When entering the main building I bumped into a friend of mine Luke and I never viewed everything on offer as we ended up talking about his time in ECA, graduating and putting his exhibition together, cameras and photography and we made tentative plans for a joint exhibition. I find talking to others who create things very inspiring as it pushes me to do more and you can never beat catching up with someone who you haven’t seen for months (and talking about cats, holidays and music).

It was all too soon time for me to head back to the hub and Luke to pack up his photos and leave the college for the last time. Next couple of hours were a whirl of putting up posters, setting things up, and getting something to eat just in time for people to arrive to Inspace for Sound : Image : Art.

It was great to see the final fruits of a project I had been involved from almost from the start. As an intern I had been there to contact people and push the project in social media. The event was a combination of networking, finding out more about Central Station and hearing views of everyone involved in the Soundtrack project in the beautiful white surroundings of Inspace. There were drinks, there were smiley faces, there were members’ work projected on the walls. But all too soon I had to run off again, this time to man the door of the afterparty which was buzzing. All that remains to be said is that you should have been there, the dance moves during Don’t Stop Believing by Journey were something else.

Please check out all the other blogs posted for the Edinburgh International Film Festival 2010for more information and photos.

The elephant in the corner? The tricky group dynamics. How do you achieve a coherent show with twelve voices? How do you ensure that your audience isn’t overwhelmed by the noise of a group curated group show? It’s difficult not to consider this, and imagine conversation and conflicting visions as you walk around some brilliant but at first seemingly disconnected pieces.

The ‘Mastercats’ say that the project “has evolved and developed from our shared interest in the archival process, influenced initially by the historical significance of the gallery itself. Exploring the practice of collecting and exhibiting has become the foundation for this exhibition.”

So perhaps all the pieces are there to be put back together again by the viewer – a sort of customisable collection. With all archives, there is a process of sifting and searching for value and meaning. Neil McGuire – After The News – has produced a catalogue which is considered part of the show, presented as a kit of parts that you assemble yourself in the gallery. (Worth getting your hands on one, it’s a conceptually sound and
beautiful bit of work in it’s own right.)

There is a rawness, and a vintage/other era slant to lots of the work. Sawn in half wardrobes housing nick-nacks and pottery all painted white, Dada-esque upturned pianos, screen-printed sheet metal, haphazard groupings of old televisions, fanzines. Omar Zingaro Bhatia’s family cassette selection provides some lighter interactive entertainment on a ’70’s stereo. I was personally pleased to see a reappearance of some recent Glasgow folklore – Raydale Dower’s ‘Drapeau Noir’ – or at least theblack-flag-with-hole that hung outside the Gi temporary venue until just last month.

An exception is The Otolith Group [now Turner nominated and as such considered a bit of a curatorial coup] who have a film projected here, and for practical reasons it sits outwith the main space in the refurbished Georgian gallery. It’s a documentary that portrays the intense details of working life for some of the lowest paid workers in India, and inevitably lends some perspective.

These creative decisions and ideas are a product of an open ended dialogue and process. There’s been an effort to push out research and development onto social networking platforms and blogs, and a series of panel discussions (one of which I was lucky enough to attend and speak at) with creative professionals in an aim to pool collective knowledge and resources. Go to the TDTDT site (also designed by Neil McGuire) to explore links and images, delivered via delicious tags and pdfs. Or attend the next discussion on Saturday, (2–4pm, with Nicolas Oddy, Anne-Marie Kramer, Daniel Watt). The MasterCats show is a collection of works well worth seeing, but perhaps what they all do really differently are all those collaborative project aspects – that’s really what sets them apart and sets future works and collaborations in motion.