M.A. Creativity and Education
Between 2012 and 2014 I had the very great pleasure of studying for an M.A. in Creativity and Education for the Professions with the University Of Chester. The modules I covered were:
- Engagement with Creative Practice;
- Creativity in Cultural Organisations;
- Creative Professional Enquiry;
- Reflexive Practice in Art;
- and M.A. Major Exhibition.
If you want to be stretched, challenged and inspired; if you want to leap forward in your personal creative and professional development, I urge you to do this M.A.! It has been one of the most significant periods of my life and I am extremely grateful to the highly competent and deeply knowledgeable academic staff who worked with us all.
Catalogue Statement – M.A. Major Exhibition 2014
My pilgrimage into art as resurrected spiritual praxis in the significant ‘now’ (kairos), after ‘the death of art’, investigates light and its interplay with Creation, reflecting Descartes’ and Kant’s philosophy of dualism; of mind-body and of the noumenal and phenomenal. My practice travels freely between digital and analogue, representing the spirit-body relationship between Creato ex nihilo and His Creation from nothing, and between me and my creations.
The theological basis for the work relates to biblical texts about God being light; light being the first created entity and foundation for the rest of Creation; God being I AM; and Christ’s sacrifice for humanity, and my response to this as a ‘living sacrifice’. This situates my body as a temple of the Holy Spirit.
Creation is a process and I associate this with Process Theology where God yearned to turn his ideas into concrete reality, and is both eternal and completely tied up with the activity of the universe.
My spirit, with its vitalistic subjectivity, is evidenced in the work when entering into ‘digiworld’. This ‘most-real’ reality provides a playground where the spirit can be brought to light. The body then steps in through ocularity, sound, smell and touch; all is designed to raise ‘kairos’ awareness and the wonder of creating.
Small shadows are revealed through monochromatic complex texture and cast shadows that are separate from bodily forms, which analogously are three-dimensional or bas-relief. ‘Construction-play’ is possible through creating works of many parts. This is recorded from different viewpoints through digital photography and is shown in film.
I am constantly attracted to reflective plains such as polished metal, mirror, glass, Perspex, acrylic, beads, and florescent and two-tone surfaces. Also, the symmetry of kaleidoscopic multi-reflections provides constant surprise and delight.
‘Digiworld’ provides a doorway for me to explore reflections in my drawings and photographs (which are from many angles), presenting a fly’s-eye view of the world, rather than the misnomer ‘God’s eye’ view of Cartesian Persepectivalism. The latter infers God is distant, unable to view with compound vision, and inevitably not omnipresent.
Transparency speaks of revelation and truth, and to realise the diaphanous I utilise acetate, acrylic, cellophane, lighting gels, Perspex, glass beads, clear-dried glue and sheer fabrics. Translucency proffers tantalising part-revelation and God-like mystery drawing you in, and this is apparent in my use of layering and denser materials.