Tag Archives: Paul Coldwell

Paul Coldwell in conversation with Christopher Le Brun

Professor Paul Coldwell will be in conversation with the Artist & President of the Royal Academy of Arts, Christopher Le Brun.

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Christopher Le Brun is a painter, sculptor and printmaker, an alumni of Chelsea College of Art and the current President of the Royal Academy of Arts.

This conversation will primarily focus on his work in print, the discipline for which he was originally elected to the Royal Academy. His work as a printmaker has been rich and varied, ranging in scale and process from large mural scale monotypes made with Garner and Richard Tullis in Santa Barbara, through to small scale intimate etchings published by Paragon Press with whom he has had a long association. Le Brun’s prints are generally the result of a dedicated period of engagement resulting in series and portfolios of work which explore themes and ideas current in his paintings and sculptures. Notable publications include Seven Lithographs 1989, 50 Etchings 1990, Four Riders 1993, Wagner 1994, Motif Light 1998, Paris Lithographs 2000, Fifty Etchings 2005 and the newly released Seria Ludo woodcuts in 2015.

Paul Coldwell is an artist and Professor in Fine Art at Chelsea College of Arts. He has written extensively on printmaking, is on the editorial board of the journal Print Quarterly and is a regular contributor to Art in Print for whom he writes regularly. He has curated a number of exhibitions including Morandi’s legacy: Influences on British Art (which included Le Brun) and more recently, The artists’ Folio as a site of Inquiry.

This event is organised by Chelsea College of Arts in partnership with Print Quarterly.

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SMALL JOURNEYS | Paul Coldwell

SMALL JOURNEYS

Long & Ryle Contemporary Art. 4 John Islip Street, London SW1P 4PX

April 20th, 2016 – Extended until June 10th, 2016

This, the first exhibition by Paul Coldwell with Long & Ryle, presents a group of recent small sculptures and associated prints which together explore ideas of journey, absence and loss. The sculptures are very much thinking models; propositions about how we might consider landscape, both from an interior perspective but also as seen from photographs and from above through the window of an aeroplane. The prints, developed on screen through the computer are reconstituted and resolved as physical prints, most recently as etchings, in order to reinstate their presence as objects in the world.

The sculptures were all cast in the Foundry at Chelsea College of Art with the assistance of John Nicoll. The etchings plates were made at Byam Shaw, (CSM) with the help of Paul Dewis and then proofed at OBS Oficina Bartolomeu dos Santos, Tavira, Portugal.

Upcoming events include:

– London Original Print Fair (Royal Academy) at which Paul will be giving a talk about his work on Saturday May 7th at 3.30.

– At SASA Gallery (Brisbane, Australia) Coldwell is showing in a five person show along with Aleksandra Antic, Marion Crawford, Joel Gailer, Performprint & Olga Sankey entitled The Unstable Image. 29th March – 22nd April

– The Artists Folio, an exhibition Coldwell jointly curated with Sonya Kielty originally for Cartwright Hall, Bradford will be shown at Gallery Oldham 16 April – 9 July.

Image: Paul Coldwell, Suitcase & Mountain-Bronze 30 x 40 x 14 cm

Private View: Small Journeys | Paul Coldwell

Private View: Wednesday, 20th April 2016, 6-8pm


Exhibition Dates:
21st April – 27th May 2016

Opening Hours: Tues-Fri 10-5:30, Sat 11-2 

This, the first exhibition by Paul Coldwell with Long & Ryle, presents a group of recent small sculptures and associated prints, which together explore ideas of journey, absence and loss. The sculptures are very much thinking models; propositions about how we might consider landscape, both from an interior perspective but also as seen from photographs and from above through the window of an aeroplane. The prints, developed on screen through the computer are reconstituted and resolved as physical prints, most recently as etchings, in order to reinstate their presence as objects in the world.

As an artist, Coldwell’s practice includes prints, book works, sculptures and installations. He has exhibited widely, his work included in numerous public collections, including Tate, V&A, British Museum, the Arts Council of England and Musée d’art et d’histoire, Geneva. He was selected for numerous open print exhibitions including the International Print Triennial, Cracow, Northern Print Biennial, Split Print Biennial, Croatia and Statements, SNAP3, Rheine Germany.

Contact Kinga for further details and images on 0207 834 1434 or [email protected].

SNAP 2015: International Printmaking Symposium

Between 12 and 15 November 2015 the print association Druckvereinigung Bentlage e.V. held its third International Printmaking Symposium SNAP 2015 in cooperation with the cultural institution Kloster Bentlage gGmbH in Germany and the AKI ArtEZ Institute of the Arts in the Netherlands. The two previous symposia focused on the position of contemporary printmaking between traditional methods and the digital future, and the role of printmaking in the international art world. This symposium examined questions concerning the subject Kunstraum Druckgrafik: Printmaking in Other Forms of Art. Specifically, it addressed how various modes of expression in contemporary printmaking combine or overlap with other art disciplines, such as sculpture, painting, installation, film, paper art and laser cut. It also illustrated the increasing significance of the interaction of printmaking with other areas of art in fine art educational institutions in Europe and elsewhere. From a historical viewpoint, printmaking has always been a hybrid medium that has adapted to current technology. Printing was and remains a means of spreading ideas and information, and a catalyst for social change.

CCW Professor Paul Coldwell was invited to give the keynote, called Print, making and the work of art alone. ‘My paper  considered the relationship of print to the transmission of ideas through the multiple. This includes the changing role of the print studio and how artists are increasingly viewing print as an opportunity to produce work, which is distinct and resolved within the medium of print.’

Chelsea MA Fine Art 2013 alumna Tanja Engelberts was asked to participate at the Haus der Niederlande with two other artists from the Netherlands in one of the exhibitions linked to the SNAP symposium. She exhibited a work called Seance, which she made on the MA Fine Art course at Chelsea.

After she completed her degree, Engelberts won the Clifford Chance sculpture award, where she displayed the Island a work exploring escapism within a corporate architectural environment, while simultaneously investigating the relationship between sculpture and photographic imagery. A stipend for emerging artist from the Mondrian Fund (Dutch art council) enabled her to develop different projects including a residency at the Ucross Foundation in Wyoming USA, a commissioned work for Scheveningen prison commemorating its second world war history and various group and solo exhibitions.

Currently Tanja Engelberts lives and works in the The Hague NL, where she is preparing an expedition to a North Sea drilling site in order to research the economic, ecologic and human presence on a seemingly empty space.

 

Top Image: Seance by Tanja Engelberts

Student Seminar with Jim Dine Prints

On Wednesday 4 November CCW Professor Paul Coldwell brought a group of students from Camberwell College of Arts to the British Museum to work with their new collection of Jim Dine prints.

Coldwell said, ‘As a taster in advance of my in conversation with the American artist, Jim Dine on 25th November, 6-8pm, I arranged an informal seminar with ten students from MA Printmaking at Camberwell in the beautiful Prints & Drawings study rooms of the British Museum. Dine recently gifted over 200 prints to the British Museum in honour of his dealer, Alan Cristea.

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For anyone interested in contemporary printmaking, this is a rich resource, not only to enable an in depth study of this remarkably printmaker, but also to see close up, the wide range of techniques that he has employed, and in some cases invented. There is no substitute for seeing prints “in the flesh” and having such an open and rich resource makes studying in London so special.

After the British Museum, we walked to Alan Cristea Gallery in Cork Street to see the show of Cornelia Parker and by chance met with Alan Cristea himself, fresh from Jim Dine’s print retrospective in Essen so the day had a certain symmetry.’

The student who attended had a positive feedback they agreed. Robert Marney said, ‘Thanks ever so much for showing the second year printmaking around the British Museum yesterday, the work was fantastic, It was greatly enjoyed by all. The work you selected of Jim Dine was superb!!’ Isidora Papadouli said, ‘It was a great opportunity to observe Jim Dine’s work and respond to his images and his printmaking techniques.’

Oficina Bartolomeu dos Santos Residency- Isabel Wilkinson

Continuing the annual residency at  Oficina Bartolomeu dos Santos (OBS), this year’s winner was Isabel Wilkinson, who spent 2 weeks in early October 2015 creating new work in the studio in Portugal. ‘I use printmaking to create new semi-imagined landscapes, informed by film, fiction and lived experience of place. Through drawing and collage, I attempt to fragment reality through the abstraction of landscapes. I often underpin a body of work with a narrative taken from mythology or fiction. I like to explore the possibility that the stories we read, hear or watch begin to inhabit our real world, and to find the space created by this collision of real and imaginary.

Arriving in Tavira just before sunset, the rare beauty and peacefulness of the town and the studio was breathtaking. I could hardly wait to get out my drawing tools – in the morning I began to sketch the stark white buildings and long shadows that characterize the landscape of the town.

Talking to Margarida Palma, who helps to run the Oficina Bartolomeu dos Santos, I found out how particular Barto dos Santos was when designing the studio. Each feature was considered, down to the design of the windows and the placement of the sinks, to suit his way of working. The pleasure of living and working in such a well-equipped and beautifully located workshop is borderline luxurious, a printmaker’s paradise. I was struck by Margarida’s passion for printmaking, and for the development of this space – in fact everyone connected to OBS shared this passion. Barto left an incredible and generous legacy in his studio, and I felt incredibly lucky to have use of it – and also honoured to play a role in the continued life of the building.

Isabel at OBS

Spending time alone in Barto’s studio was an incredibly reflective and productive time for me. The solitude of the first week forced me to reflect on the direction of the body of work I would make while at OBS – having recently completed my MA and taken part in the AYYO Residency in the Cotswolds, this was an important time for me to assess where I am going next in my practice. I also found out while at OBS that my work had been shortlisted for the 2016 Clifford Chance Postgraduate Printmaking Exhibition, and I felt as though my practice had now transitioned to beyond study and into real life.

In the second week I was joined by Professor Paul Coldwell. We looked over the prints and drawings I had been working on so far, and Paul gave feedback and suggestions on these. Having worked exclusively with monoprinting for the past 18 months or so, Paul encouraged me to be more experimental with my approach and to think about making some editions. We also discussed at length the process of adapting to life after MA study, and I feel more confident now to run with ideas and developments in my practice, while maintaining one of the most constructive aspects of postgraduate study – conversation and debate with peers.

Isabel and Paul

Working alongside Paul was fascinating both from a conceptual and technical perspective – and the sense of community that embodies printmaking studio practice gave me a unique opportunity to garner advice and techniques from him throughout the week. It was also comforting to see a printmaker 100 times more experienced than me become frustrated by their work – and to see how this frustration was resolved. It highlighted to me that printmaking is a lifelong exercise in hard work and trial and error – if you stay within your comfort zone and avoid making errors, the successes won’t be made either.’

Paul Coldwell also told us about his experience, saying, ‘Working in the print studio of the late Bartholomeo Dos Santos(OBS), I was supporting a two week residency offered through OBS for a graduating student from the MA Printmaking course at Camberwell. This year, the recipient is Isabel Wilkinson who has been spending her time developing ideas through monotype while also savouring the delights of this beautiful medieval town in the Algarve. Dos Santos was one of the most important Portuguese graphic artists  of the 20th century and was also Professor in printmaking at the Slade School of Art, UCL. He was a great supporter of the MA Printmaking course at Camberwell, and this annual residency is a wonderful way to perpetuate dos Santos’s legacy. It’s great for me to return and work in the studio again, this time alongside Isabel. While there we had a visit from students on the fine arts course from the University of the Algarve, culminating in a symposium on visual poetry, with talks by myself and Tomas Cunha Ferrera Faro at the Biblioteca Municipal Álvaro de Campos in Tavira.’

Top image: Roof, by Isabel Wilkinson

Paul Coldwell in Times Higher Education

This summer Times Higher Education asked academics what they did with their ‘free’ time. CCW Professor Paul Coldwell responded to the question.

‘I substituted the casual jacket and chinos for boiler suit, goggles and steel-capped boots.

As an artist and academic, research and practice are intertwined. Ideas that exist as thoughts or sketches are constantly tested in the studio, and this flows back into both teaching and further research. However, each process brings its own demands, and there are occasions when a concentrated focus is required.

This summer, I was determined to resolve a number of small sculptures that I had been developing over the preceding months. So, for a few weeks, I substituted the casual jacket and chinos for boiler suit, goggles and steel-capped boots and closeted myself in the very well-equipped metal foundry at Chelsea College of Arts.

The generosity and enthusiasm of the foundry’s director, John Nicoll, creates an environment that is welcoming and professional. I enjoyed the sense of community, working together with the final-year MA students as they prepared for their final show.

The process of casting is long and complex, involving “investing” the wax originals by attaching wax rods to enable the metal to flow, preparing the piece for pouring, then digging out the casts from the sandpit. Working directly in the foundry allows me to respond to each stage, modifying and fine-tuning the pieces until they are complete. Despite my impatient nature, this is a process that cannot be rushed.

The process of casting itself impacted on the actual sculptures I ended up making. Thinking about how the metal flowed round the sculpture led me to incorporate aspects of this in the making of the sculptures, and I increasingly thought of them in terms of fluid lines, and drawing with the metal. It was a highly productive few weeks.’

This story was originally posted online in Times Higher Education on 17 September 2015.

Top image: Coldwell in the foundry at Chelsea

Material Things: A Talk with British Artist Paul Coldwell

This talk will centre on Paul Coldwell’s print work and its relationship to his overall practice as an artist. Coldwell’s work focuses on themes of absence and presence, often taking archives or collections as starting points for investigation. His prints feature objects, often the everyday intimate objects with which we conduct our lives, and his approaches range from what could be described as traditional printmaking through to digital, and hybrids in between. The talk will be on 20 May at the New York Foundation for Arts (NYFA).

This event is part of NYFA’s ongoing relationship with UAL. They recently featured an article in the Con Edison Immigrant Artist Newsletter introducing Artquest, an online resource and a program of UAL. Artquest provides ‘everything a visual artist needs to know’ by encouraging critical engagement and providing practical support. Its online services are free and open to artists anywhere.

Coldwell’s practice includes prints, book works, sculptures and installations, focusing on themes of journey, absence and loss. He has exhibited widely, and his work is included in numerous public collections, including the Tate, V&A, British Museum, the Arts Council of England and Musée d’art et d’histoire, Geneva. He has been selected for many of the international biennials including Ljubljana, Cracow, and the Northern Print Biennial. His recent solo exhibitions include: A Layered Practice Graphic Work 1993-2012, a retrospective staged by University of Kent which then traveled to University of Greenwich, Re-Imagining Scott: Objects & Journeys at the Scott Polar Research Institute, Cambridge 2013 and Charms and other Anxious Objects at the Freud Museum, London 2014. His current exhibition Material Things, is at the University of Bradford.

Coldwell has taught in many colleges both in the UK and abroad including as Visiting Professor at the University of Northampton (2006-09), Visiting Professor at the Chinese University, Hong Kong and Guest Artist at the Art Institute of Chicago in 2010 and Montclair University in 2012.

He has curated a number of exhibitions including Digital Responses (V&A 2001), Morandi’s Legacy; Influences on British Art(Estorick Collection London 2006), and The Artists Folio, (Cartwright Hall, Bradford 2014). In addition, he has published writings on a number of artists including Michael Craig-Martin, Richard Hamilton, Giorgio Morandi, Christiane Baumgartner and Paula Rego and contributes regularly to many publications including Print Quarterly, Art in Print and Printmaking Today. In 2011 he was invited as keynote speaker for Impact 7 International Printmaking Conference in Australia. His current book Printmaking; A Contemporary Perspective was published by Black Dog Publishing in 2010. To learn more about Paul Coldwell, visit his website.

Top image: Paul Coldwell, Sites of Memory, 2006 screenprint 59 x 71cms ( 23 x 28 inches).

Material Things: Sculpture and Prints

Gallery II is proud to present the first exhibition that brings together a significant number of sculptures and print works by CCW Professor Paul Coldwell.  Bronze and resin-casted objects, bookworks, photo-etchings and digital prints produced for a variety of contexts over the last sixteen years are re-presented and placed into dialogue in this exhibition.

With a diverse range of references and sources of inspiration – including news reportage of the Bosnian conflict in the mid 90s, avant-garde composer Steve Reich’s speech melodies, 19th Century Italian modernist Giorgio Morandi, The Freud Museum and Captain Scott’s expedition of the Antarctic – for Coldwell the opportunity to exhibit these works in one place ‘presents an exciting challenge and the opportunity to see how this work, much of which was originally made for specific locations, might speak unaccompanied.’

Coldwell’s relationship to Bradford and the North has been developed through his role as guest curator of the Artist’s Folio exhibition at Cartwright Hall in 2014 and his participation in the Northern Print biennials. Curator Amy Charlesworth feels that the exhibition resonates especially well in this location: ‘The University’s permanent art collection holds some significant print works by artists such as Ceri Richards, David Hockney, John Piper, Derek Boshier and Sidney Noland. Moreover the history of the print biennials held in Bradford from the late 1950s to 1990s is a pertinent landscape through which to approach Coldwell’s investment in the print medium.’

Material Things: Sculpture and Prints runs from March 13th to Friday May 15th Monday to Friday 11am – 5pm (open til 6pm on Thursdays) with an opening on Thursday 12th March from 5pm that all are welcome to attend. A special discussion event with the artist and an invited panel will take place in May. The exhibition is accompanied by an 88 page fully illustrated catalogue with an essay by Anna Moszynska.

MPhil/PhD Intensive Week

In mid-November CCW Graduate School held its second annual MPhil/PhD Intensive Week, a programme of research workshops. The week focuses on practice and aims to introduce students to the particular expertise and experience of members of CCW’s research staff. The week includes four workshops, each looking at the spaces and domains of research in art and design under the headings of Studio (Mark Fairnington), Viva (Paul Coldwell), Social Space (Marsha Bradfield) and Text and Practice (Jo Melvin).

‘The viva represents the culmination of the years of study towards a research degree and the student’s “appointment with destiny”, whereby the claims and arguments posited in the thesis can be tested,’ said Coldwell. ‘In many ways the viva is such a unique event that no amount of preparation can cover every eventuality, but a clear understanding of the process and the roles of everyone involved certainly helps. By understanding what purpose the viva serves, the student can hopefully enter into the process and enjoy the experience. After all, the whole focus of the viva is on the student’s research, and the opportunity to discuss or even “lock horns” with senior academics in the field should be an experience to savour. The idea of giving a robust defence of the thesis was explored and the manner in which the student should be seen to be taking ownership of the research territory as laid out in their thesis.

While each examination team is different, and of course, that each thesis demands its own particular scrutiny, the appointment of an independent chair, drawn from a pool of experienced examiners within UAL ensures that each viva is conducted within the guidelines and that our university regulations are strictly adhered to.   My workshop set out to explain the preparation for the event, what happens on the day itself and what follows. It also explored various ways in which the visual material could be presented and the importance throughout of seeing the thesis as all the work to be examined- practical and written. I hope the session served to de-mysterfy the viva and answer some of the concerns and fears that students invariably harbour. From my perspective, it was a very engaging and enjoyable session with everyone participating.’

CCW PhD student Elizabeth Manchester discussed her experience in Coldwell’s workshop. ‘In his extremely useful seminar, Paul presented lots of eminently sensible and practical advice about how to approach your viva. He recommended things that should be completely obvious but sadly aren’t – like reading your thesis through several times so that you take ownership of it and can refer back to it in those high pressure moments (instead of kicking yourself afterwards when you realise that you had actually answered the question in depth several pages in, something I can imagine myself doing only too easily). He took us through all the nitty-gritty basics, such as who will be there, what the main aim of the process is, and then showed us pictures of viva set-ups, giving us a range of examples of how previous PhD candidates had dealt with that difficult issue of how to present the practice element of the research. Above all, he emphasised the positive aspects of this event: the fact that it is an opportunity not only for a real encounter with your research, but also for a really in-depth discussion of it, involving an exchange of ideas with academics in your field. Putting your work and ideas centre-stage – what could be more stimulating and exciting?!’

Recordings of the workshops by Bradfield and Coldwell are available on Soundcloud.