| I love to challenge my versatility.
In sculpture, I have worked with a variety of materials, subjects
and on different scales. I have experience with smallest bronzes
up to life size figures, figurative or abstract projects involving
earth, water, light, granite, wood/trees, terracotta and other
materials. I am able to take on projects as large as monuments
or fountains, since I have the knowledge and experience of my
former Professor Schmettau, University of Fine Art Berlin, to
draw on at any time, who has completed many major projects of
that scale (see main, centre of Berlin Fountain) in several countries.
In painting, I tend to produce large paintings in a variety of
styles and approaches. I have worked with several other methods
and techniques beyond my two major subjects of sculpture and painting.
S u m m a r y o f T
r a i n i n g a n d Q u a l i f i c a t
i o n s
1981-1983 : Apprenticeship
with Painter Josh Kirby, England.
I began to study painting with an award-winning English painter.
Traditionally trained, after that abstract artist, Josh Kirby
later became famous for his covers and illustrations for Terry
Pratchett's books (Discworld Series) which have been all over
the book stores for years now.
1983 : Ludwig Maximilian
University, Munich, Germany
Student of philosophy for a few semesters.
1985-1987, 1990 : Technikon Natal, Department of FINE ART /
Painting, Durban, South Africa
Student of Fine Art, major Painting, other subjects: Sculpture,
Photography, Ceramics, Graphic Interpretation/Printmaking/Etching,
History of Art, Drawing, Anatomy, Methods & Techniques, etc.
(several distinctions). The colourful and lively influences of
the diverse, struggling and growing South African culture (Zulu,
Indian, European) have definitely left their mark on my work around
this time.
Although I was studying painting as my major at the time, I began
to have more and more interest in sculpture as well. The Head
of the Department of Sculpture was - and is - Andries Botha, an
award-winning South African sculptor, who is exhibiting widely
and internationally. You can find out more about him here: http://www.artthrob.co.za/00apr/artbio.html
Work
by Andries Botha
1991-1994 : Hochschule der Kuenste (UNIVERSITY OF FINE ARTS)
/ Sculpture, Berlin, Germany
Upon passing of entry examinations (15 of 1500 applicants are
accepted) student of Fine Art, Major Sculpture, Prof. Schmettau.
Joachim Schmettau is a well known German Sculptor, who has created
many major sculptural projects in Berlin and internationally,
including the main World Fountain in the centre of Berlin, at
Kurfuerstendamm. Final degree examinations passed 1994 with distinction,
therefore invited to be Pupil to the Master (comparable to post-degree,
higher distinction), Masterclass Professor Schmettau.
World Fountain, Berlin by professor Joachim
Schmettau
1994-1998 : Teaching Art, East
Grinstead, England
In 1994, after the completion of my degree and exhibition we moved
to England.
I have been teaching art since we have come here with very good
results. I have worked out a programme teaching drawing, painting
and sculpture integrating a variety of approaches apart from my
own and based on a sequence of steps with the goal not only to
encourage abilities but beyond that to help the students find
their individual style and direction with certainty and quality.
I enjoy teaching very much as to achieve the above for others
constitutes a challenge. I have to generate the utmost in respect
and a wealth of perception and sensitive judgement as the basis
of constructive criticism so as to be able to achieve the same
in a student. Teaching art, in my view, has to go beyond ticking
off the knowledge of techniques that have been dealt with. Art
comes to life on a different level -it is something more than
merely the sum of its parts. I have found that encouraging - but
challenging -guidance, rather than enforcement of personal or
current ideology- is the most constructive element in teaching.
1997-1999 : College for Adult Education, (Crawley) East Grinstead
I was teaching two courses, four classes, for the College: Life
Drawing and Sculpture. The students came from widely varied backgrounds;
their levels, interests and dedication or general commitment to
art was diverse. It is my purpose to bring out the enthusiasm
in my students that they all have more or less locked up inside
and buried under uncertainties. By creating a professional rather
than a "hobby" atmosphere and exposure to varied viewpoints and
elements of their subject, and by gradual increase of their perception
and confidence, I aimed to provide the foundations for the students
to be able to work on their own. A relatively short course cannot
replace the practice and experience necessary, but-while improving
the quality of their work-it can show how to do it. My regular
survey responses after the completion of a course showed that
the students feel that this has been achieved.
I have attended teacher / staff training courses at Crawley College.
1998-2000 : The Old Mill Studio, East Grinstead, England
I like to work large scale and need a proper studio for both painting
and sculpture. In the beginning of 1998 I found a great studio,
the whole top floor of an old factory in the centre of East Grinstead.
I began teaching all my classes at the studio and I had more than
sixty students during this period.
2000-present : To facilitate the progress of my own work
I have separated teaching from studio work. I have a large studio
at a local former farm and I teach my groups from the Parish Hall,
East Grinstead.
I n t e r e s t s
I have researched and written a thesis accompanying my final exhibition
in Berlin with the title "End of Art, Future of Art" investigating
the subjects of "time forms, historical and current conventions",,
"wanting/acceptance of art", "aura", "idea and vision", "emotion,
taboo and vacuum", subjects which are still of great interest
to me.
Music and literature are interesting and important to me. Philosophy
I consider vital as I understand and 'think with' art in a philosophical
context, which may not be considered important by every artist,
but which I feel is integral.
A c a d e m i c R e f e r e n c e s a n d
E x h i b i t i o n s
Please
contact me for information.
P r o f e s s i o n a l M e m b e r
s h i p s
- Member of the Sussex
Sculptors
- In the process of becoming
a member of the Surrey Sculpture Society
- Member of the Royal
Society of British Sculptors
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