MA Inclusive Art Practice
University Of Brighton
BA(Hons) Fine Art
Camberwell Scool of Art
Lumen Studio, Brighton
Ottakars Bookshop, Brighton
I have been practicing as an artist for over 30 years.
My preferred mediums are drawing, painting, photography, and writing. These are often combined with digital processes.
Knowledgable in screen printing, book & paper-making, paint & ink-making.
Expert in Adobe software.
Over 20 years’ experience as a print designer (clients include BBC Books, Random House, Bonnier Books).
I have led & worked in teams as well as working freelance where I have had complete control over the design, illustration, and production of books, branding, advertising & marketing.
I have led workshops in:
Art material making, with people with lived experience of homelessness.
Photovoice, with members of the aged community.
Other relevant experience
Submitting research/workshop proposals to ethics comittees.
Academic research (the effects of collaborative material making on the creative processes with artists who have lived experience of homelessness).
Working with people & artists from marginalised sectors of the community (JustLife, Rocket Artist, Action For Kids).
Facilitating creative workshops.
Participating & curating exhibitions (at Tate Exchange).
24 years London agency experience.
Expert knowledge of Adobe Creative Suite and Apple Mac systems.
Design: Noel Gallagher, Any Road Will Get Us There, 2018;
Dynamo, The Book Of secrets. 194pp
Creative artwork: Honda stand at the Geneva motor show 2017; Manchester United Sponsorship; Pfizer medical packaging; events for Ricoh printers; presentation documents for Your Army; visualising for O2.
Freelance: 2012 - Present
Reference: Brian Lloyd: firstname.lastname@example.org
Design & visualising for WARL Group (VCCP) on such clients as Coca Cola, O2, United Biscuits. Also, designs for Your Army (music management & promotion); Minds On Fire (music publishing); Amber Promotions (merchandising).
Magazine design & marketing for Bouygues UK (Construction).
Freelance: 2009 to 2012
Reference: Garry Martin: email@example.com
Design for BBC Books/Random House: ‘TOPGEAR: The Cool 500’, TOPGEAR: Ambitious But Rubbish’, ‘Eddie Stobart: The Ultimate Guide’, ‘Tinie Tempha: My Life So Far’, design of advertising, brochures, logos, marketing materials, programmes for Top Gear Live.
EMG Communications LTD: 03.2004 to12.2008
Contact: Kevin Casey, Director 020 7976 0777
Total artwork/production reponsibility for all work produced (EMG is a 20-person design & communications agency). Design of various books and magazines for (amongst others) Bacardi Ltd and Volvo.
Producing artwork, managing freelancers, and passing-on-press, for above-the-line print advertising, packaging, brand guidelines, vehicle livery, exhibitions. Clients include Bacardi Ltd (Dewar’s Whisky, Aberfeldy Whisky, Grey Goose Vodka, Bacardi Rum, Martini), Volvo, V&S (Absolut Vodka, Bombay Sapphire Gin), Grants (Glenfiddich Whisky), The Great House Hotel & Restaurant.
Freelance: 2002 to 2004
While resident in Melbourne I freelanced through Workstation Solutions Australia. Accounts worked on included Seven-Eleven, the Australian Dairy Marketing Board,The Melbourne Cup, the Victoria Regional Government.
(Greek: εὐδαιμονία [eu̯dai̯moníaː]),
Care oneself/understanding of one’s self.
A study of oneself amplifies this eudaimonia, a sense of life lived well, a flourishing, a feeling of participation in the flowing onward of existence, a connection with the caring entanglements of human (and other-than-human lives). Only with this primary attention to oneself can we engage with care in others & with the community.
Simply - specifically - attention to one’s art practice encourages attention to the art of others: encourages a participatory inclusive journey.
In a series of collaborative workshops I organised with people with lived experience of homelessness, we studied how the processes involved in learning to make paint and paper impacted the art process. (In some ways we were looking at taking ‘care’ of ones’ materials.) Did this respect/understanding impact upon our usual ways of working?
We found that these process encouraged not just empathetic collaboration, but gentle ways of experimenting. During my reflection I felt they also encouraged critical engagement with other vibrant materials: to ecology; earth materials; myth; wilding; and to other ontologies of being. This drew me to the later part of the term eudaimonia: daemon... benign, beyond-human, mythical beings. I believe this almost anthropological attention to materials enables a diffusion of knowledge, takes us beyond the object & enables us to engage with the hidden/liminal/marginalsed.
The process of investigating the beginnings of materials also encouraged me to look even further back in the process: to explore the creative urge, the Promethean spark... These researches have become new ways for me to record, to learn, to teach, to create, and, within the heightened site of lockdown, to watch them combine with the earning/feeding/parenting/sourdough starter quotidian...