MA Printmaking
Camberwell has a well-established tradition of printmaking as a specialist activity and is renowned for its excellence in its delivery. The diversity and interdisciplinary nature of media available within contemporary printmaking, driven by continuing rapid technological developments, invites new dialogues with the reflective practitioner and poses particular questions for the artist interested in exploring their ideas through the issues and potential of print.
Printmaking is committed to the development of the creative practitioner within a broad definition of the subject that is essentially open to challenge and individual interpretation. The programmes of study are designed to place the practice of printmaking in both a contemporary critical context and in a wide historical perspective. The acquisition and development of technical skills, critical thinking, contextual and professional knowledge are seen as interdependent elements and students are encouraged to investigate and reconsider assumptions underlying the applications of autographic processes and new technologies.
Julieta Hernández
My work approaches the acquisition of language, particularly when learning a new one that is not our mother tongue, how we get to understand its delicate twists and finally adopt them into our own speech. I am especially interested in slang and cursing as the core of understanding primary emotions and their way of expressing them through words.
Julieta Hernández
MA Printmaking
jhadame@servidor.unam.mx
Jane Lacy Hodge
My work is about looking, at my personal landscape – inseparable from my identity, penetrating to its rhythms and energy, its inextinguishable life force. Through intense observation, I strive for marks to express its actuality, through the meditation and mediation involved in negotiating what happens during the looking and during the making.
Jane Lacy Hodge
MA Printmaking (Part-time)
Ursula Kelly
"---when we are at our most natural, our most everyday, we are also at our most cultural; that when we are in the roles that look the most obvious and given, we are actually in roles that are constructed, learned and far from inevitable."
Willis, P. (1979), Shop floor culture, masculinity and the wage form IN: Clarke et al, Working Class Culture,
London: Hutchinson & Co. Ltd
Ursula Kelly
MA Printmaking
urskelly@yahoo.co.uk
www.ursulakelly.com
Gail Mallatratt
My current practice is based on Japanese multi-plate woodcuts. My work begins with a loosely formed drawing which I translate into woodcut and silkscreen. The end result is not fixed by the initial drawing, but mutates as the plates are proofed, mistakes and accidents occur, and colour experiments are realised.
Gail Mallatratt
MA Printmaking (Part-time)
gail.mallatratt@tesco.net
Scarlett Massel
I am interested in how we look at others and what we see is often a reflection of what society, the media and our own social, religious and economic power, including gender, has taught us to think. The paradox is that, while being at the centre of our own world, we are insignificant in the larger scheme of things.
Scarlett Massel
MA Printmaking (Part-time)
scmassel@btinternet.com
