Research Spotlight: Michael Branthwaite

Michael Branthwaite on location

In the second in our series of blog posts celebrating the excellent research and artistic practice being undertaken by the Fine Art Teaching Team, we share the work of Senior Lecturer Michael Branthwaite, at an important moment in his research. Michael is this week away from the University undertaking research in Holland, Germany and Austria. As well as being course leader for the Foundation Year in Art and Design, Michael also uses his hands on skills as a creative practitioner to provide an important bridge for our students, as they move from F.E. and into H.E.

You can see more of Michael’s work via his website: http://www.michaelbranthwaite.com/

Michael Branthwaite’s research trip to Germany, Holland and Austria

‘During research at the site of Treblinka Extermination and Prison Camp carried out by the Centre of Archaeology at Staffordshire University a number of discoveries led to an opportunity to confirm and challenge the history of the extermination camp, and demands (from the public) to view the objects. In order to address these challenges and to ensure that a successful dissemination strategy was developed, myself  and archaeologist (Caroline Sturdy Colls) formed a collaboration. My role in this collaboration was to assist in two initiatives: (1) the development of a factual exhibition centred on the newly discovered remains at Treblinka. (2)  lead the production of the commissioning of artworks that responded to the archaeological findings. It was important during this process to find a balance between engaging visitors and opening up possibilities ‘without feeding people’s propensity to glorify war, stoking their macabre or voyeuristic fascination with terror, trivializing the event, and, above all, sacrificing the victim’s dignity – essentially making them victims for a second time’( Ehrenreich and Klinger 2014:113)

This project has led to a continued collaboration on the iC-ACCESS campscapes project that I’am currently working on which focuses on camps or mass-interment across Europe. At the moment I’am gathering research material from Kamp Westerbork in the Netherlands and Bergen-Belson in lower Saxony, Germany. ( see images) This will form part of a physical exhibition planned for the Open Society Archives Budapest and Wiesenthal Institut für Holocaust Studien Vienna. The material will also be used by iC-ACCESS on its digital platform to expand the ways in which these sites can be discussed in relation the Europe traumatic past.’

Research Spotlight: Dr Sarah Key

Doubting An Untroubled Sleep 2016, Dr Sarah R Key, ink gesso acrylic on paper 110x160cms

In the first in our series of blog posts celebrating the excellent research and artistic practice being undertaken by the Fine Art Teaching Team, we share the work of Dr Sarah Key. Sarah teaches across the practice and context aspects of the second year of our Fine Art course, also contributing to the final year module ‘Reviewing, Curating and Writing on Contemporary Art.’ You can see more of Sarah’s work over on her website: https://www.sarahrkey.co.uk/

This body of work used mediated experiences of the landscape to explore approaches to drawing, using projection as a method for appropriation and compositional disruption. The unfolding events in Europe and the Syrian refugee crisis impacted on the steer of this project.

Ianus Lost, 2016, Dr Sarah R Key, ink gesso acrylic on paper 110x160cms

The aim; to use the immediacy of drawing to produce new meanings from a synthesis of existing cultural phenomena. The documentary film Patience (After Sebald)[i] was the secondary source material used. Appropriate for its mapping of visual experiences of landscape within a discursive socio-political narrative; and a poetic reading of The Rings of Saturn[ii] – itself a rhizomatic account of manifold socio-political ideas within a fictional construct. This methodology allowed for multiple interpretations of a specific idea to emerge, with the film being a foil to the realities of the exterior world where the critical context of the Contemporary Sublime emerges in respect of the research imperatives.[iii]

Houston We Have A Problem, 2016, Dr Sarah R Key, ink gesso acrylic on paper 110x160cms

The ideas explored consider the desire to withdraw from the cultural world alongside the potential consequences of passivity in the wake of cultural disaster. Made manifest in the imagery there remains unfixed any singular or discernable environment, where internal and external contexts remain interchangeable.

Sailors Reading Room, 2016, Dr Sarah R Key, ink gesso acrylic on paper 110x160cms

[i] Documentary film by Grant Gee, 2012

[ii] The Rings of Saturn, W.G.Sebald, 1995

[iii] “…that cultural signs, codes and representations are understood as producing our life-world and making it meaningful. In this context the importance of the concept of the sublime for contemporary discussions on art is that it addresses an unresolved problem within this social constructionist argument. For while we may no longer believe in eternal essences or values, we often sense that our lives are fashioned by forces beyond our control, which underpin and drive acts of thinking or representation.” The Contemporary Sublime, Simon Morley, 2010, Documents of Contemporary Art, Whitechapel Art Gallery

Visiting Artist David Bethell

This report on the visit and speech given by artist David Bethell is written from the perspective of a Victorian Explorer and gentleman, see image below (a character created by Final Year student Rob Noble.)

This world is truly astounding; I have come across the artist David Bethell who within his artistic practice uses a Fabricated and fictitious character who could be based on myself. This character named Doctor Bird; this is no imposter though it is performance, the character features in several of his artworks, these which make use of the peculiar and frankly wondrous medium of moving pictures. Bethell’s work is fascinating, for some of it he explores existing artworks and constructs one of a kind functional objects that operate in their natural environment so much so they’re tested to their material limits until they cease to function. This process is documented and exhibited.

These wooden contraptions are often representations of real–world machinery, which are familiar to me, such as steam trains and sailboats. They exist in designs to this day and stretching back to the past from where I originate and beyond. This unique practice reveals conflicts and contrasts of human influences as they break down within the landscapes.

Bethell chooses the sitings of these performative acts with care as each of his works is site specific, these sites are crucial as they form narratives underpinned by history and place. This character is not his sole occupation or gimmick. Bethell created the character of Dr Bird during a curating residency at Wolverhampton museum when he was looking after their collection, thus he devised the character as an apt reflection of this. Many of Bethell’s works reflect his surroundings or subject matter (the history and context of the chosen area or piece of work), in many cases both – his is truly a unique response to his surroundings and the field of artistic study. One such work of great interest to me is one where as part of a larger ‘Conquering Clouds’ project as part of the larger still ‘The Artist and the City’ region wide project Bethell (in the guise of his character Dr Bird) enquires about geology of Staffordshire and the Black Country and the research and performative elements are both fact and mythology, connecting places and periods by an eccentric and unreliable guide. This was Bethell’s response to the work of artist George Cartlidge named:  ‘In September a Staffordshire Hilltop’ by documenting the process of the painting he explores the composition.

This approach to the landscape is influenced largely by Bethell’s rural background this is also shown by the use of wood as a material for the fabricated contraptions which are as much part of his performative works as the sites they add to. This approach and unique explorative practice is brought by Bethell to all of his and truly is a fascinating way of approaching and dealing with a vast subject matter.

As with all good artists the past and surroundings are drawn on to assist on the journey through this wondrous contemporary world.

David Bethell graduated from Staffordshire University BA Fine Art in 2005.

Review by Rob Noble.

Visiting Artist Antonio Roberts

On Thursday, 21st February We were very pleased to welcome Digital Artist Antonio Roberts to give a talk within our visiting artist programme. This week the creative review comes via Instagrame, from level 6 student Tamara.

We think this says it all – and shows just how much our students value this important part of what we do.

Visiting Artist Rosalie Schweiker

On Thursday, 14th February 2019 our visiting artist programme for 2019 began. This programme is an integral part of what we do, here on the Fine Art course at Staffordshire University, and is a fantastic opportunity for our students to hear from a range of practitioners. The programme i8s also open to the public, providing a brillinat programme of talks as a resource for practising artists in the region. This means a number of our graduates can stay in touch with the course too and we regularly see familiar faces in the Film Theatre. The public bookings for our visiting artist talks are managed by AirSpace Gallery, as part of their Curriculum Programme.

3 of our students Creatively Reviewed Rosalie’s talk. Thanks Jess, Rae and Alexena.

Review of visiting artist Rosalie Shweiker’s talk.

New Art West Midlands

As New Art West Midlands enters its 5th year of providing excellent opportunities for the regions graduates, we want to take the opportunity to celebrate the success of our graduates in this important regional art exhibition, which we are very proud to be a partner in.

This year we have 4 of our brilliant graduates selected for the exhibitions, selected from across the region, we are proud of Lindy Brett, Damian Massey, Lisa Nash and Jenna Naylor.

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Selected Arts graduate from across the region at New Art West Midlands Opening Night 2017

In addition, this year, two of our students have won prizes: Congratulations to Damian Massey who has been awarded £250 of art supplies by Cass Art, the principal sponsor of New Art West Midlands, plus he has also been selected by Grasslands to undertake a residency place in spring 2017. Grasslands is an artist-led project space that explores group activity and collaboration from a domestic garden site in Birmingham, founded by Dan Auluk.

new-art-west-midlands-opening

Lisa Nash, Damian Massey and Jenna Naylor at the opening, standing in front of Jenna’s installation.

Well done to Jenna Naylor, who has been awarded a commission by Treeline, an artist-led project delivered through the Herefordshire-based environment organisation New Leaf.

Over the five years that New Art West Midlands has been going, our graduates have consistently done brilliantly, and continue to do us proud. New Art West Midlands also offer important professional development support for Artists and Curators in the West Midlands – keep in touch with the network here: http://newartwestmidlands.co.uk/

Residency Opportunity for Artists

Fine Art- Cadman Gallery Residency

cadman-gallery

What: A residency based in our Cadman Gallery which is situated in the heart of our Fine Art Department, at Staffordshire University. We will offer you the space and time to develop an ambitious project in the space and share your skills and knowledge with our Fine Art students via a hands on practical workshop and Artist Talk. The Gallery is approximately 5×5.5 Meters with a working height of 3.5 meters. You will have access Monday- Friday 8am-7pm and be given a swipe card so you can access the gallery at your own convenience.

Who: A practitioner who wants to realise a new project/work and needs the space and time to do so. You will be self-sufficient and able to work without assistance. We will do a basic studio protocol induction which will enable you to use tools and equipment in the space.

When: 21th March – 8th April. You will also show the outcome of your residency alongside our first year Fine Art Students in an Exhibition opening on the evening of the 6th April. This often attracts up to 400 visitors so offers an ideal opportunity to showcase your work.

Fee: The selected artist will be paid a fee of £400 towards the costs of the residency. This can be used for transport/materials etc.

Deadline: 12pm 10th March 2017

Submissions: Please up-load a collated application into one downloadable PDF to a file sharing website ( such as wetranfer/dropbox etc)  containing the information below and email the link to the residency coordinator Michael Branthwaite (Senior Lecturer/ Fine Art) please include’ Cadman 2017’ in the subject of your email.

Email: m.branthwaite@staffs.ac.uk

Or Anna Francis (Associate Professor Fine Art)

Email: A.M.Francis@staffs.ac.uk

–        1 page CV

–        A 250 Word Residency Plan stating why this opportunity would be suitable for you and your practice as well as what you intend to do during your time with us.

–        Up-to 5 images (72dpi) that represent your practice or a web-site link

–        If applicable, you may also send up-to 5 images (72dpi) that give a visualisation of what you are proposing to do on the residency.