Podcasts about Chelsea College

Master Your Emotions Download This - https://bit.ly/4fMCbFKSave 10% on https://mmmcacao.earth/ - CJ10https://mmmcacao.earth/?sca_ref=8361562.Ki9CfmGxJWFelix Price is a multi-media artist creating immersive experiences grounded in instinctual mark-making. His art channels visions from extra-dimensional journeys, expressed through intricate patterns that invite the viewer to feel the spaces within and between.Raised in a family of artists, Felix was obsessed with drawing from an early age. He studied Fine Art at Chelsea College of Art and The Slade in London. His travels through distant lands and cultures introduced him to ancient practices for opening the third eye and accessing other realms of perception.These journeys took him beyond the surface of reality and deep into his own psyche, where he discovered that paradise is a state of mind. From this place, he received visions that now shape his artistic expression.Felix describes his works as windows into other worlds. Though seemingly abstract, his freestyle line formations are rooted in an interconnected mathematical harmony that underpins the visual language.His dream is to offer others a pathway to the inner artworld — a space of inner-visioning and mystery that lives within us all.====== FELIX =====IG ▶ https://www.instagram.com/felixprice.uamsa/ART ▶ https://www.felixpriceart.com/====== CHRIS GEISLER ======WEBSITE ▶ thechrisgeisler.comMens Community ▶ https://www.skool.com/menofearth/about====== PODCAST ======Support The Podcast: https://www.patreon.com/thechrisgeislerTelegram: https://t.me/thechrisgeislerpodcast

Ross Taylor was born in 1982 in Harrow, London, where he continues to live and work. Since graduating from the Royal College of Art with an MA in Painting, he was awarded the Abbey Scholarship at the British School at Rome and was artist in residence at the Edward James Foundation. Taylor's work is concerned with an emergent space; a swilling and churning dual sphere of production and consumption where all that enters is incessantly gnawed, singed and regurgitated. He sees the studio as a restless stomach-cave which rages, and correspondingly pacifies. A place wherein each stain, drip, blob, and smear, can appear to congeal, much like grammar. And, through the contemplation of this surface, each idea, word or moment running through his head has space to intensify, making it conceivable to take control of chaotic ideas, order the subconscious and attempt to model thoughts that are somewhat impossible. Luke Burton (b.1983, London) lives and works in London. He studied at Chelsea College of Art for a BA in Painting and the Royal College of Art for an MA in Sculpture. He works across media including painting, vitreous enamel, collage and installation. He has an ongoing interest in the relation of ambivalence to aesthetics and politics, especially as to how it may pertain to the decorative. He is also interested in the sticky concept of style and its relationship to ideas around language in painting.You can get in touch with us with opinions and suggestions at:Email - tothestudio@gmail.comInstagram - instagram.com/tothestudioThis podcast features an edited version of the song "RSPN" by Blank & Kytt, available under a Creative Commons Attribution license. http://freemusicarchive.org/music/Blank__Kytt/Heavy_Crazy_Serious/Blank__Kytt_-_Heavy_Crazy_Serious_-_08_RSPN

Florence Cassell, Founder and Creative Director of Studio Floc, talks about why she was an early adopter of the 4 day week, explains how it benefits everyone, from employees to clients and leaves us with her top tips for utilising the 4 day week model.Florence is the Founder and Creative Director of Studio Floc, an award-winning, B Corp-certified graphic design agency. After studying at Chelsea College of Art and Brighton University, she started her career in London, working across design agencies before launching Studio Floc in 2018 to combine creative excellence with meaningful impact.She leads a growing team dedicated to crafting brand identities that help businesses communicate their purpose with clarity and confidence.

Talk 8 Between Brentwood and Brasenose (1956-59) Part 1 Welcome to Talk 8 in our series where I'm reflecting on the goodness of God throughout my life. I left school in December 1956 and started my course at Oxford in October 1959, a period of almost three years. In many ways it seemed a long time to wait, but in the plan and purpose of God they turned out to be highly significant years. I gained experience in teaching. I met Eileen, the girl who was to be lifelong partner. And I received the life-changing experience of the baptism in the Holy Spirit. But first, I need to explain how I got my place at Oxford and why I had to wait three years before taking it up. Gaining my place at Oxford In 1956, at the age of seventeen, I had already passed my A Levels and had decided to stay on at school a further year to take S Levels the following summer. S Levels – the S stands for Scholarship – were the highest level of GCE exams that you could take and were designed to support your application to university, especially if you were hoping to go to Oxbridge. However, as things turned out, I did not need to complete my S Level course because in the first term of that school year I was awarded a scholarship to read Philosophy, Politics and Economics at Brasenose College, Oxford. Our form master, Mr. Rennie, had suggested that some of us might like to spend a few days in Oxford and take some examinations at Brasenose College with a view to obtaining a place there. As there was only one place available I was not expecting to get it. But I decided to go even though my friend, John Bramble, was going too and I thought he was far more likely to be successful. He had always come higher than me in class and had gained better A Level results than I had. There were about eight of us altogether, each of us taking different exam papers, generally depending on what subjects we had taken at A level. There was just one paper that was the same for all of us, an English essay, the title of which was unknown to us until we sat down in the examination room. And that title was WORDS. The length of that exam was three hours and, although some boys started writing almost immediately, I spent the first 45 minutes planning my essay. I can't remember in great detail the contents of that essay but I know that I concluded it by talking about Christ, the word made flesh, the divine logos, the ultimate revelation of God Himself. I have sometimes wondered if the reason I was awarded the scholarship rather than any of my colleagues was that the Lord was honouring me because I had honoured him. Of course, I can't be sure about that, but he had helped me through my A levels when I had honoured him before the whole class when my History master had told me that I was likely to fail, and I have always sought to give God the glory for any academic success I may have achieved. And I discovered later that, of all the papers I sat during that visit to Brasenose, that essay on WORDS was awarded the highest grade – an alpha. But when I received a letter from Brasenose offering me a scholarship a few weeks later, I was totally amazed and, after discussing it with my father, I came to the conclusion that this had to be God. But there was just one problem. The place they were offering me was for three years later in October 1959, after I had completed my two years National Service. However, the Government had already agreed to abolish National Service and were in the process of phasing it out gradually. They did this by delaying the ‘call-up' which meant, in my case, that by the time they would have called me up, there would be less than two years before my course at Oxford was starting. In short, I would not have time to do National Service and, by the time I had finished my course at Oxford, National Service had been abolished completely. So, having obtained my place at Oxford, I decided to leave school at the end of term in December and start to earn some money. And at the time there was a great shortage of schoolteachers, as a result of which young people who had passed their A levels could do ‘uncertificated teaching' before going to university, and so I ended up doing almost three years' teaching before I went to Oxford. Gaining experience in teaching And, surprisingly enough, it started at the very school I had just left. Or, to be more precise, it was at the Preparatory School attached to Brentwood and standing just on the other side of the main playing field. One of the teachers was on sickness leave for a few weeks and I was asked if I would take their place as they taught French and Latin which were of course my two main A Level subjects. As it was a boarding school, I was required to live in and be the housemaster for some of the boys, which mainly involved making sure that they were in bed on time and not talking after a certain time. I was only there for a few weeks (January 15 to February 16), but I enjoyed the experience very much and learnt a great deal, not least of which was that, if you prepared your lessons thoroughly, you had relatively few problems with discipline. After Brentwood Prep I was told by the Essex Education Committee that another job was available in Brentwood, at the Church of England Primary School in Coptfold Road, only a few hundred yards from my old school. A teacher was on maternity leave and a replacement was needed until July to look after her class of 8 to 9 year-olds. The pay wasn't great as I was not a qualified teacher. It worked out at about half what I would have been paid if I had been qualified. And, of course, this was not a residential post, so I needed to travel on two buses each day to get there from Hornchurch. But I accepted the job anyway.   As in most primary schools, a teacher was responsible for teaching their class throughout the day all the subjects on the timetable. That was not a problem, but learning to keep discipline was another matter. My expectations were based on the level of discipline I had experienced as a pupil at Brentwood and the few weeks I had spent teaching at Brentwood Prep. Coptfold Road was quite another matter. Many of the children came from a less fortunate background and some of them were of rather limited intelligence. As a result, and due to my own lack of training and experience, and lack of any supervision, I found the two terms I was in charge of that class extremely difficult, and was quite relieved when I heard towards the end of the summer term that Mrs. Istead, the teacher who had been on maternity leave, was returning the following Monday. So on the Friday before she was due to return I was clearing my desk after school when the headmaster, Dr. Ward, asked me what I was doing, adding, You're not leaving, are you? And he offered to give me a different class to teach and keep me on indefinitely until I went up to Oxford. So I decided to stay and, as things turned out, I was there until the end of September 1959, my ability to keep discipline improving greatly with experience and the help of a Day School Teachers' Conference organised by the Baptist Union and held at St. Augustine's College, Canterbury in August 1957. As I look back on those years of teaching before I went to Oxford, I think I can see why God allowed it to happen that way. While I was waiting I was rather frustrated, thinking, Why am I teaching when God has called me to the ministry? But little did I know then that his plan for me was that most of my ministry would be teaching. And although the major part of my teaching ministry has been to a different age group, even when teaching at degree level in Bible Colleges around the world, I have found that God has given me the ability to teach at a level that everyone can understand, something I repeatedly hear from grateful listeners. And perhaps at least part of that ability is a result of those years I spent teaching less able children while waiting to go to university. God knows what he is doing, and he always has a purpose in what appear to us to be pointless pauses in our lives. But that brings me to an even more significant purpose in those years of waiting, for it was in those years that I met Eileen, the girl I was to marry and who was to be the ideal person to support me in my ministry. Meeting Eileen It was an incredibly hot day that Saturday afternoon. So hot in fact that the railway line buckled in the heat of the sun. It was Saturday 29th June, 1957 and we had arranged a youth rally where the young people from Elm Park Baptist would meet up with Hornchurch Baptist young people for fun and games in the park followed by an open air service. Although the churches were only two miles apart, before then we had had little contact with them, so I actually knew none of the young people there. People have often asked me how I met Eileen and I have usually replied, In the park! After a game of rounders, we sat down in groups and had a picnic tea. I noticed a group of four rather attractive girls sitting a few yards away and thought I would like to take a closer look! So I got up and walked towards them and happened to notice that one of them had taken her shoes off. On impulse, I picked up one of the shoes and ran off with it, with nothing in particular in mind other than just having a bit of fun. Needless to say, the owner of the shoe ran after me but was at something of a disadvantage as she had bare feet. I soon disappeared from view and hid the shoe under the bridge that spanned the park lake. Of course, when she caught up with me, I felt a bit of an idiot and showed her where the shoe was. We got into conversation and I asked her if she would like to come to our Saturday evening youth club which took place after the open air service. She agreed and, after sharing a song sheet at the open air, I found out that her name was Eileen and that she was just six days older than me. After youth club I walked her home and kissed her goodnight. And that was the beginning of a relationship that lasted, with a short break, for 67 years and which ended only when the Lord called her home at the age of 85. We agreed to meet again some time the following week, but the next day, after attending church in the morning, I decided to go to Hornchurch Baptist for their evening service in the hope of seeing Eileen again. She and her friend were sitting in the choir and her friend noticed me in the congregation and said to Eileen, He's here! After the service we went for a long walk in the park and from then on were to see each other just about every day. I discovered that Eileen had attended Romford County High School and had left after taking her O levels. At the time she was working at Barts (St. Bartholemew's Hospital) in London, but a year later she accepted a post in the Dagenham Education Office which was closer to home. But before that, I have to confess that there was a short break in our relationship during the last few months of 1957. I mentioned earlier that I attended a conference in Canterbury during the last week in August of that year. Everyone there was a qualified schoolteacher with the exception of me and one other person, a girl called Irene who was the same age as me and had been accepted to train as a teacher at the Chelsea College for Physical Education in Eastbourne. Irene was extremely attractive, highly intelligent, and very good at sport – she was nearly good enough to beat me at table tennis! But she was having doubts about her faith, and I spent some time with her trying to encourage her. As a result we were both very attracted to each other and, to cut the story short, because I have never been proud of myself about this, we started to see each other after the conference was over. When I next saw Eileen I told her, without mentioning Irene, that I felt we had been seeing too much of each other, that our relationship had been getting too intense – which it probably was – and that I thought we should cool it and not see each other for a while. She later told me that she had not been too concerned because she was convinced that if I was the right one for her, the Lord would bring me back to her. Which he did. The relationship with Irene lasted only a few weeks – until the middle of October, when I went to Eastbourne for a weekend to see her at her college. In short, she jilted me! But not long before Christmas the young people from Hornchurch Baptist came to Elm Park to take our Friday evening YPF meeting. And who should be singing in the choir but Eileen. I think we spoke briefly after the meeting, just polite conversation, but it was enough to arouse my interest in her again. So I sent her a Christmas card, and she replied by sending me one and enclosing this short poem: I do believe that God above created you for me to love. He picked you out from all the rest because he knew I'd love you best. I had a heart so warm and true, but now it's gone from me to you. Take care of it as I have done, for you have two and I have none. Not the best poetry in the world, but it touched my heart and I wrote to Eileen – I still have a copy of that letter – asking if she would like to resume our relationship. And from January 2nd 1958 hardly a day passed without our seeing each other.  

Daniel Shadbolt paints portraits, landscapes and still life using cleverly contrasting soft colours and shadow. In this episode, he talks about his experience at Chelsea College of Art and the Royal Drawing School, examples of inspiring advice he’s been given by both tutors and other artists, the influence of Impressionism and post-Impressionism on his oil... Continue Reading →

Liminal Gallery Podcast host, Louise Fitzjohn, speaks with contemporary artist Olivia Strange, during her solo exhibition ‘It Softens The Blow, That Deep Melodic Bliss' in Liminal Gallery's Main Space, in Margate from 6 July until 31 August 2024. Pulling together the multifarious strands of Strange's practice "It Softens the Blow, That Deep Melodic Bliss" explores notions of escape and survival through snapshot moments of euphoria and pleasure, as an act of resistance.The work celebrates the freedom and intimacy found within singular moments in varying spaces from the domestic environment, the natural landscape to the rave scene, that offer a sense of safety to hold multiple truths simultaneously whilst providing a portal through which to explore identities away from the constraints of critical thought.Through themes of dis/embodiment, movement, touch and tenderness, healing and empowerment, connection and ‘belonging', Strange explores intimate moments in time that elicit a sense of escape and diversion from programmed ideas of self into altered states of consciousness and where emotions can be discharged in spaces and dimensions that provide transient moments of relief from the boundaries of day to day normative realities. Olivia Strange's multi-disciplinary practice spanning sculpture, painting, installation, moving image and poetry, is characterised by a layered narrative and highly visceral aesthetic. The work is concerned with disarming patriarchal descriptors via exploration of her Italian roots and draws on themes of Greco-Roman mythology, historical narratives around witches, the female body & jouissance to portray an empowering image of queer female subjectivity.Since graduating with Distinction from Chelsea College of Art- MA Fine Art (2017) having received the Vice Chancellor Scholarship, Strange has exhibited at Annka Kulty's Gallery presenting an ambitious large scale immersive installation as part of the inaugural Cacotopia show, Southwark Park Galleries, ArtOn Istanbul, Unit 1 Gallery, Liminal Gallery (Solo Show), Every Woman Biennial, Basis Projektraum and had a solo presentation at London Art Fair with Liminal Gallery in 2024.Strange was selected for the 2021 cohort of the SPACE Studios X London Creative Network Artist Development Programme and the Ellipsis Prints 2021 Commissioning Project and Shortlisted for the prestigious Ingram Collection Purchase Prize 2021. More recently Strange was selected for the Radical Residency 2022 at Unit 1 Gallery in London, longlisted for the Robert Walters UK New Artist Award 2022, co-curated the group exhibition ‘Bag, Pedestal, Rabbit, Potato' which centred around Ursula. K. Le Guin's seminal text The Carrier Bag Theory of Fiction at Staffordshire Street Gallery, London and shortlisted for the GIRLPOWER Residency 2023.Visit the Online Viewing Room here:https://liminal-gallery.com/collections/olivia-strange-it-softens-the-blowContact us for all questions and enquiries: info@liminal-gallery.comFollow us on Instagram: @liminal_galleryWith original music by Lorenzo Bonari. Hosted on Acast. See acast.com/privacy for more information.

No dia 21 de setembro de 2024, o Instituto PIPA realizou uma conversa com Hanayrá Negreiros e Luiz Camillo Osorio de tema “Entrelaçando arte e moda em curadorias transnacionais”. Hanayrá foi a curadora premiada com a The PIPA Foundation Residency for Early Career Curators na Chelsea College of Arts and TrAIN na University of the Arts London. No evento, ela contou sobre o período em Londres com a residência; sua trajetória; a pesquisa acerca de histórias do vestir da diáspora africana no Brasil, e debateu com Luiz Camillo Osorio e com o público sobre os desafios de pensar e expor moda hoje nas instituições de arte. Também foi pensado o lugar da moda nos terreiros de candomblé, tema tratado por Hanayrá na dissertação “O axé nas roupas”. 

In this episode, we delve into our recent exciting partnership with the BA Product and Furniture Design programme at Chelsea College of Arts. Join us as we chat with Nadine Bennett and Denea Joseph, tutors from UAL, to explore how this collaboration challenged students to find creative solutions for repurposing existing materials. We discuss the importance of integrating real-world projects into design education, the impact of sustainability on creative thinking, and what it takes for aspiring designers to transition from academia to the professional world. Tune in to hear how these experiences are shaping the future of the design industry and offering students a pathway to successful careers.

Welcome to Episode 15 of Pattern Portraits!Lauren Godfrey chats with artist Navine G Dossos, about wearing painting, pattern as lexicon and the connections between geometry and philosophy.This episode was recorded on the occasion of her solo exhibition ‘Riviera' at Devonshire Collective's VOLT gallery in Eastbourne.Navine is an artist living between London and Aegina in Greece working predominantly in painting and increasingly in the public realm. She has a keen interest in pattern and through her work explores geometric abstraction, merging traditions coming from Islamic art with the algorithmic nature of the interconnected world we live in.Navine studied History of Art at Cambridge University, Arabic at Kuwait University, Islamic Art at the Prince's School of Traditional Art in London, and holds an MA in Fine Art from Chelsea College of Art & Design.Her exhibition at Volt is a commission led by Towner Eastbourne in collaboration with Devonshire Collective and presents a new collaboratively designed patterned textile featuring a language of symbols developed from the surrounding area of Eastbourne and the people that live there. The textile is available for free for visitors to take a 2 metre length with which to make a garment or furnishing, thus disseminating the pattern across the town, country and potentially the globe. A truly public artwork it also manifests as a series of awnings on nearby shopfronts, peppering the town with pattern.Navine has chosen a beautiful palette of patterns including a Raoul Dufy textile from 1920, an Islamic Geometric pattern, A Japanese wave pattern, the Photoshop transparency grid and two patterns by the Bloomsbury Group; 'Pamela' by Vanessa Bell / Duncan Grant and ‘West Wind' by Duncan Grant.You can see all of Navine's patterns and more on instagram @patternportraitspodcast‘Monumental Intimacy' - The PATTERN PORTRAIT print artwork to accompany Navine's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.ukReferences:Agnes MartinCharleston House Hosted on Acast. See acast.com/privacy for more information.

We meet artist Li Hei Di on the eve of their debut UK solo exhibition 700 Nights of Winter at Pippy Houldsworth Gallery, London.In new paintings, Li explores primal, sexual urges with their signature fluid application of paint. Balanced on a knife edge between abstraction and representation, paintings feature figures that swim in and out of view beneath diaphanous veils of paint; each layer offers a different world, or a portal to an altered oneiric space, guided by desire and emotion. Multiple perspectives collide and overlap, creating dynamic compositions that offer manifold realities within a single work. Luminescent orbs appear as though submerged in deep water, giving the compositions a nebulous quality.Li's multidisciplinary practice is concerned with repressed desire, rooted in personal experiences of navigating hetero-normative environments that obstruct open expressions of queerness. Their work eschews rigid sexual codes and gender categories in favour of a liberated approach to fantasy and beauty, which exists apart from hierarchical and dominant social structures. For Li, the dichotomous relationship between sexual arousal and repression finds a parallel in the covert ways in which erotic love flourishes on cold winter nights, as bodies become entangled in pursuit of warmth, lost but for the other. The existential threat posed to romantic love by the culture of narcissism engendered under globalised capitalism sets the stage in Li's work for the negation of the self, in the radical recognition of another, as espoused in the writings of cultural theorist Byung-Chul Han.This commingling of two entities is found not only in humankind but in the natural world too, and Li's work explores the role animal pollinators play in the reproductive lives of plants. Such co-evolved relationships encapsulate the exuberance of life in connection with erotic activity and, therefore, death.In this new body of work Li also investigates the ways in which desire manifests and, notably, declines under the ‘pharmacopornographic regime', a term coined by philosopher Paul B. Preciado to describe the intersection of the pharmaceutical and pornographic industries. Li Hei Di (b. 1997, Shenyang, China) lives and works in London and received her MA in Painting from the Royal College of Art and a BA (Hons) from Chelsea College of Arts and the Maryland Institute College of Art. In 2024, Li will have a solo exhibition at Pond Society, Shanghai and will be part of a group exhibition at Le Consortium, Dijon. Recent exhibitions include Kohn Gallery, Los Angeles, CA (2023); X Museum Triennial, Beijing (2023); Marguo, Paris (2023); Green Family Art Foundation, Dallas (2023), TX; CICA Vancouver (2023); Gagosian, Hong Kong (2023), and Pippy Houldsworth Gallery, London (2023), amongst others.Li Hei Di's new solo exhibition runs from 15th March - until 20th April 2024. Free entry.Follow @Plum_Black_Field and @PippyHouldsworthGalleryVisit: https://www.houldsworth.co.uk/exhibitions/146-li-hei-di-700-nights-of-winter/press_release_text/ Hosted on Acast. See acast.com/privacy for more information.

Andrew quite rightly features on The Standard's 2024 New Art Power List and hailed by The Telegraph as an artist saving public galleries. Today, he talks about creating a space through sonic and visual art for the viewer to think and find new ideas. His current exhibition at the Whitechapel Gallery is a love letter to one of London's most diverse neighbourhoods. It's also praised by TimeOut. This episode is a moment of celebration for the way we all experience art and what it means for the world.  Andrew earned his MA in Painting from the Royal College of Art (2019) and BA in Fine Art from Chelsea College of Arts (2017). He's also an Associate Lecturer at The Royal College of Art's MA Painting programme. On top of that, he's won the ArtAngel 'Thinking Time' Award (2020) and Tiffany & Co. x Outset Studiomakers Prize (2019). Check out Whitechapel Gallery ⁠here⁠.  For more art, head to ⁠sanclemente.co.uk⁠, catch up on previous episodes or get ready for more this week.

Andrew quite rightly features on The Standard's 2024 New Art Power List and hailed by The Telegraph as an artist saving public galleries. Today, he talks about creating a space through sonic and visual art for the viewer to think and find new ideas. His current exhibition at the Whitechapel Gallery is a love letter to one of London's most diverse neighbourhoods. It's also praised by TimeOut. This episode is a moment of celebration for the way we all experience art and what it means for the world.  Andrew earned his MA in Painting from the Royal College of Art (2019) and BA in Fine Art from Chelsea College of Arts (2017). He's also an Associate Lecturer at The Royal College of Art's MA Painting programme. On top of that, he's won the ArtAngel 'Thinking Time' Award (2020) and Tiffany & Co. x Outset Studiomakers Prize (2019). Check out Whitechapel Gallery ⁠here⁠.  For more art, head to ⁠sanclemente.co.uk⁠, catch up on previous episodes or get ready for more this week.

Andrew quite rightly features on The Standard's 2024 New Art Power List and hailed by The Telegraph as an artist saving public galleries. Today, he talks about creating a space through sonic and visual art for the viewer to think and find new ideas. His current exhibition at the Whitechapel Gallery is a love letter to one of London's most diverse neighbourhoods. It's also praised by TimeOut. This episode is a moment of celebration for the way we all experience art and what it means for the world. Andrew earned his MA in Painting from the Royal College of Art (2019) and BA in Fine Art from Chelsea College of Arts (2017). He's also an Associate Lecturer at The Royal College of Art's MA Painting programme. On top of that, he's won the ArtAngel 'Thinking Time' Award (2020) and Tiffany & Co. x Outset Studiomakers Prize (2019). Check out Whitechapel Gallery here. For more art, head to sanclemente.co.uk, catch up on previous episodes or get ready for more this week. [Note: the intro has been edited to correct Royal Academy to Royal College x] 

In this episode, Kristian Evju talks about his background in a remote part of Norway, the influence of psychology on his art, his time at Chelsea College of Art in London, how historical archive photos and research form the basis of many of his series including those of old technology and prisoner mugshots, and how... Continue Reading →

For episode five of our first season we talk to artist Luke Burton. Our discussion is centred on Luke's chosen cultural artefact, the 2004 Philip Guston retrospective at the Royal Academy, an exhibition he saw as a student at Chelsea College of Art, which alongside the 2023-24 Guston show at Tate Modern, bookends Luke's career as an artist. Guston is of course a hugely influential painter and the stylistic switches in his career – from figurative to abstract to figurative – are just one of the subjects we discuss. Also on the table are painting's connections to other artforms, the language of painting, Guston's controversial subject matter, and how we as artists are influenced by the work we see. Please be aware that we do deal with some sensitive material around Guston's paintings of KKK figures which some listeners may prefer to avoid.  We end the episode with a podcast extra made up of Luke's vox pops about Guston gathered from other artists.  You can see Luke Burton's work in his solo exhibition ‘Westminster Coastal' at Bosse and Baum, London, at the beginning of February 2024. He is also showing at The Gerald Moore Gallery at Eltham College in April 2024.   

Eliza Clark is the author of the novel Penance, available from Harper Books. It is the official October pick of the Otherppl Book Club. A native of Newcastle, Clark lives in London, where she previously attended Chelsea College of Art. Her other books include the debut novel Boy Parts and the forthccoming story collection She's Always Hungry. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram  TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

We meet artist Rafał Zajko (b.1988, Białystok, Poland). Zajko's work deals with issues around the industrial past, exploring its environmental impact in relation to working class heritage and queer identities. His sculptural practice incorporates diverse materials and processes including ceramics, ventilation systems, prosthetics and performance as a means to examine folklore, science fiction and queer technoscience, placing an emphasis on the industrial materials and processes that resonate with his heritage. Zajko is currently working on a public commission with Wysing Arts Centre and St. Peters School in Cambridge, performance commission ‘Techno Harvest' for Deptford X festival and a new sculptural commission for Kunsthalle Vienna in autumn 2023. He studied for an an MFA in Fine Art at Goldsmiths, University of London and a BA (Hons) in Fine Art from Chelsea College of Art, London, UK. Recent solo exhibitions include ‘Amber Waves II', Galeria Fran Reus, Palma, Mallorca, SP (2022), ‘Song to the Siren', Cooke Latham Gallery, London, UK (2022), ‘Amber Waves', Public Gallery, London, UK (2021), ‘Resuscitation', Castor Projects, London, UK (2020), ‘We Were Here/My Tu Bylismy', Galeria Im. Slendzinskich, Białystok, PL (2019) and ‘Unputdownable', White Cubicle, London, UK (2018). Selected group exhibitions include ‘Support Structures', Gathering, London (2023), ‘Swiat nie wierzy lzom', Galeria Arsenal, Białystok, Poland (2022), ‘London Open 2022', Whitechapel Gallery, London Uk (2022), ‘New Contemporaries 2021', South London Gallery, London, UK (2021), ‘26 Degrees East', Wiels Annex, Brussels, Belgium (2020), ‘Age of Ephemerality', X Museum, Beijing, CN (2020), 'Clay TM', TJ Boulting, London, UK (2020) and ‘Bold Tendencies 2020', London, UK (2020). In 2020 Zajko was the recipient of the Bow Graduation Studio Award.Visit: RAFAŁ ZAJKO CLOCKING OFF open now and runs until 26th November 2023: https://queercircle.org/rafal/Nearest tube: North Greenwich. Free entry.Follow @Rafal_Zajko and @QueerCircleRafal's website is: https://www.rafal-zajko.com/ Hosted on Acast. See acast.com/privacy for more information.

In this episode Gary Mansfield speaks to Piers Secunda (@pierssecunda)Piers Secunda was born in London in 1976 and studied painting at Chelsea College of Art in London. Since the late nineties Piers has developed a studio practice using paint in a sculptural manner, rejecting the limitations imposed by the canvas.Piers' work has developed into a research heavy practice, which examines some of the most significant subjects of our time, such as energy and technology history and the deliberate destruction of culture.For more information on the work of Piers Secundago tohttps://www.pierssecunda.comThank you to @taniburns for making this conversation possibleTo Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

Today on Killer Women, our guest is Eliza Clark. A native of Newcastle, Eliza lives in London, where she previously attended Chelsea College of Art. She works in social media marketing and has worked for women's creative writing magazine Mslexia. In 2018, she received a grant from New Writing North's “Young Writers' Talent Fund.” Her short horror fiction has been included in Tales to Terrify, and she hosts the cultural podcast You Just Don't Get It, Do You? with her partner. Boy Parts is her first novel. Killer Women is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #elizaclark #harpercollins

Today on Killer Women, our guest is Eliza Clark. A native of Newcastle, Eliza lives in London, where she previously attended Chelsea College of Art. She works in social media marketing and has worked for women's creative writing magazine Mslexia. In 2018, she received a grant from New Writing North's “Young Writers' Talent Fund.” Her short horror fiction has been included in Tales to Terrify, and she hosts the cultural podcast You Just Don't Get It, Do You? with her partner. Boy Parts is her first novel. Killer Women is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #elizaclark #harpercollins

Today on Killer Women, our guest is Eliza Clark. A native of Newcastle, Eliza lives in London, where she previously attended Chelsea College of Art. She works in social media marketing and has worked for women's creative writing magazine Mslexia. In 2018, she received a grant from New Writing North's “Young Writers' Talent Fund.” Her short horror fiction has been included in Tales to Terrify, and she hosts the cultural podcast You Just Don't Get It, Do You? with her partner. Boy Parts is her first novel. Killer Women is copyrighted by Authors on the Air Global Radio Network #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #elizaclark #harpercollins

Nestled in Kuching, The Ranee of Sarawak is a beacon of Malaysia's rich heritage. Founded by Rosemarie Wong, who studied at Central St.Martins and Chelsea College of Art & Design, The Ranee uniquely merges traditional craftsmanship with contemporary design. As we approach Malaysia Day celebrations, we spotlight this cultural jewel and its commitment to preserving local arts and heritage.Image credits: theraneeofsarawak.com

We meet leading artist Rana Begum to discuss her new public art flag display on London's Piccadilly in collaboration with the Royal Academy of Arts and Art of London. We also explore her incredible current solo exhibition at The Box in Plymouth titled 'Dappled Light'.The vibrant designs entitled No.1273 Flag are currently adorning the London skies until 20th August 2023, so make sure you visit if you're in London this month! Each flag showcases intricate geometric patterns, celebrating the multicultural fabric of the city. Rana Begum, a distinguished Royal Academician elected in December of 2019, has skilfully infused the flags with meticulously tiled mosaic patterns, symbolising unity and the diverse community of London. With her mastery of minimalist abstraction, she captures the vibrant essence of the city's world-class culture and entertainment scene, particularly in the iconic West End. Her artwork spills out onto the streets of the West End, bringing vivid colours and vibrancy along London's iconic Piccadilly.Part of Art of London's Summer Season, these striking designs give us a glimpse of what's in store for the city's streets. Rana Begum's designs, responding to the "Art of Entertainment" theme, reflect the liveliness and excitement of dance, music, and theatre. Her clever blend of colour and geometry captures the fluidity of movement, resulting in a rhythm that connects with passers-by.The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum's works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design and, in 2002, gained an MFA in Painting from Slade School of Fine Art. Rana Begum lives and works in London.Follow @RanaBegumStudio @TheArtofLdn and view image of Rana's new flags at: https://artoflondon.co.uk/events/art-of-london-unveils-new-flags-by-rana-begum-on-piccadillyand visit @TheBoxPlymouth for her current solo exhibition. @RoyalAcademyArts Summer Exhibition 2023 is open until 20thAugust, for more information visit: https://www.royalacademy.org.uk/exhibition/summer-exhibition-2023 Thanks for listening and happy Summer!!! Hosted on Acast. See acast.com/privacy for more information.

Holding up the Ladder Salon Series IThis episode is in collaboration with Black British Art, an arts platform that focuses on championing, educating, curating and advising on all that is Black British Art. Its founder Lisa Anderson-Diffang, a curator, consultant and Interim Managing Director of The Black Cultural Archives* chairs the discussion asking the question - ‘Are we having a Black British Art Renaissance?'. Our panellists were: Bolanle Tajudeen - founder of Black Blossoms – an expanded curatorial platform showcasing contemporary Black women and non-binary artists since 2015. In 2020 Bolanle launched the Black Blossoms School of Art and Culture, an online learning platform decolonizing art education. Bernice Mulenga is a London based multidisciplinary artist, who prioritises the use of analog processes in their work. Mulenga's work also explores recurring themes surrounding their identity, sexuality, grief, family, and Congolese culture. And Dr Kimathi Donkor, Kimathi is a contemporary artist. His work re-imagines mythic, legendary and everyday encounters across Africa and its global Diasporas, principally in painting. Dr Donkor earned his PhD at Chelsea College of Arts and he is currently Course Leader for the BA (Hons) degree in Fine Art: Painting at Camberwell College of Arts. On the night we were served a bespoke menu consistent with the Black British Art theme prepared by The Future Plate, the chef was William Chilila.The episode was produced and recorded by AiAi studios*Lisa Anderson is now Managing Director of the Black Cultural ArchivesTitle: 'Are we having a Black British Art Renaissance?'LINKS:PanellistsBolanle Tajudeen: https://www.black-blossoms.online/; IG - @blackblossoms.onlineBernice Mulenga: https://www.bernicemulenga.com/; IG - @burneece Dr Kimathi Donkor: https://www.kimathidonkor.net/; IG - @kimathi.donkorChairLisa Anderson-Diffang: IG - @lisaandersonaaBlack British Art: IG - @blackbritishartBlack Cultural Archives: https://blackculturalarchives.org/FoodThe Future Plate - https://www.thefutureplate.com/ William Chilila: IG - @william_chililaSalon Series I Playlist - https://tinyurl.com/5mf5n6snFor images of the event head to the podcast website - https://www.holdinguptheladder.com/ Hosted on Acast. See acast.com/privacy for more information.

Que histórias podem ser contadas por tecidos? Inúmeras. A exposição "Expressão dos tecidos: a narrativa a partir das padronagens” faz um recorte da cena têxtil atual. A mostra promove o diálogo entre a obra de seis artistas contemporâneos baseados em Londres e peças da coleção da britânica Barbara Sawyer (1919-1982), que acaba de ser catalogada pelo Centro de Arquivos e Coleções Especiais da London College of Communications. Vivian Oswald, correspondente da RFI em LondresA artista têxtil, que lecionou na Camberwell School of Arts & Crafts por 30 anos, ainda é pouco conhecida fora desta que foi sua área de atuação. Com isso, uma das ideias deste projeto é celebrar sua importância no movimento modernista do design têxtil. Entre outras inovações, Barbara Sawyer introduziu novos materiais na confecção de tramas, como o celofane, ainda na década de 1940. A curadoria da mostra foi feita por quatro estudantes do mestrado da Chelsea College of Arts, entre eles a jornalista brasileira de moda Lilian Pacce.“Finalmente, o mundo contemporâneo está começando a valorizar a arte têxtil, que sempre foi muito mais associada ao artesanato do que à arte, especialmente porque é muito associada às mulheres, e as mulheres nunca foram muito reconhecidas no mundo das artes”, afirma Lilian.Meio aos artistas participantes, a brasileira Patricia Tavares é a única a ter uma peça comissionada para a exposição. Sua obra, "The Black Sheep", tem mais de 4,5 metros de altura e escancara a influência do Barroco na vida desta mineira que cresceu indo a igrejas e das figuras femininas que a influenciaram. A peça é como uma colcha de retalhos com tecidos de roupas, zíper, fivelas e luvas que reinterpretam suas memórias pessoais e identidade cultural.Já a inglesa Claire Barber transforma em tecidos os sons da natureza. A lituana Egle Jauncems mistura imagens entremeando pinturas, colagens e costura. Ela usa diferentes tramas para construir uma ponte poética entre o racional e o irracional. Os símbolos do código morse, por exemplo, já formaram palavras em suas telas.SanquharA russa Yelena Popova usa padrões tradicionais que ela digitaliza e redigitaliza. A partir de pinturas, vídeos e instalações, ela explora as relações culturais do capitalismo e da industrialização. Na exposição, Yelena se inspira na tradicional padronagem de Sanquhar, da Escócia. E a britânica Srabani Ghosh trabalha com esculturas em papel para recontar histórias e suas memórias da Índia.Quem entende do riscado, e Lilian entende, sabe que as tramas são feitas a partir de cálculos matemáticos. "A ideia é trabalhar a linguagem por meio dessas padronagens, que podem acontecer por meio de sons, como é o caso de Claire Barber, ou de técnicas bem diferentes, como a escultura da Srabani Ghost. A interpretação de um padrão super clássico escocês, chamado Sanquhar, feito pela Yelena Popova, tem a ironia da Egle Jaucems, com telas recortadas, tramadas. E a questão do feminino e do Barroco [está presente] na obra da brasileira Patricia Tavares”, ela explica.Especialista em moda, a jornalista nascida em São Paulo é autora de diversos livros, como “O biquíni Made in Brazil”, “Ecobags: moda e meio ambiente” e “Pelo mundo da moda: criadores, grifes e modelos”, que tem prefácio de Vivienne Westwood.Antes de se mudar para Londres, onde conclui seu mestrado em curadoria da UAL, a Universidade das Artes de Londres, Lilian lecionava no mestrado de Jornalismo Cultural da Faap. Em 2019, ela assinou a curadoria da segunda etapa do projeto Masp Renner. Desde 2021, Lilian passou a integrar o board internacional de História das Roupas de Banho da BikiniART Museum Foundation.A exposição "Expressão dos tecidos: a narrativa a partir das padronagens” poderá ser visitada no Chelsea Espace, de 3 a 9 de julho.

Que histórias podem ser contadas por tecidos? Inúmeras. A exposição "Expressão dos tecidos: a narrativa a partir das padronagens” faz um recorte da cena têxtil atual. A mostra promove o diálogo entre a obra de seis artistas contemporâneos baseados em Londres e peças da coleção da britânica Barbara Sawyer (1919-1982), que acaba de ser catalogada pelo Centro de Arquivos e Coleções Especiais da London College of Communications. Vivian Oswald, correspondente da RFI em LondresA artista têxtil, que lecionou na Camberwell School of Arts & Crafts por 30 anos, ainda é pouco conhecida fora desta que foi sua área de atuação. Com isso, uma das ideias deste projeto é celebrar sua importância no movimento modernista do design têxtil. Entre outras inovações, Barbara Sawyer introduziu novos materiais na confecção de tramas, como o celofane, ainda na década de 1940. A curadoria da mostra foi feita por quatro estudantes do mestrado da Chelsea College of Arts, entre eles a jornalista brasileira de moda Lilian Pacce.“Finalmente, o mundo contemporâneo está começando a valorizar a arte têxtil, que sempre foi muito mais associada ao artesanato do que à arte, especialmente porque é muito associada às mulheres, e as mulheres nunca foram muito reconhecidas no mundo das artes”, afirma Lilian.Meio aos artistas participantes, a brasileira Patricia Tavares é a única a ter uma peça comissionada para a exposição. Sua obra, "The Black Sheep", tem mais de 4,5 metros de altura e escancara a influência do Barroco na vida desta mineira que cresceu indo a igrejas e das figuras femininas que a influenciaram. A peça é como uma colcha de retalhos com tecidos de roupas, zíper, fivelas e luvas que reinterpretam suas memórias pessoais e identidade cultural.Já a inglesa Claire Barber transforma em tecidos os sons da natureza. A lituana Egle Jauncems mistura imagens entremeando pinturas, colagens e costura. Ela usa diferentes tramas para construir uma ponte poética entre o racional e o irracional. Os símbolos do código morse, por exemplo, já formaram palavras em suas telas.SanquharA russa Yelena Popova usa padrões tradicionais que ela digitaliza e redigitaliza. A partir de pinturas, vídeos e instalações, ela explora as relações culturais do capitalismo e da industrialização. Na exposição, Yelena se inspira na tradicional padronagem de Sanquhar, da Escócia. E a britânica Srabani Ghosh trabalha com esculturas em papel para recontar histórias e suas memórias da Índia.Quem entende do riscado, e Lilian entende, sabe que as tramas são feitas a partir de cálculos matemáticos. "A ideia é trabalhar a linguagem por meio dessas padronagens, que podem acontecer por meio de sons, como é o caso de Claire Barber, ou de técnicas bem diferentes, como a escultura da Srabani Ghost. A interpretação de um padrão super clássico escocês, chamado Sanquhar, feito pela Yelena Popova, tem a ironia da Egle Jaucems, com telas recortadas, tramadas. E a questão do feminino e do Barroco [está presente] na obra da brasileira Patricia Tavares”, ela explica.Especialista em moda, a jornalista nascida em São Paulo é autora de diversos livros, como “O biquíni Made in Brazil”, “Ecobags: moda e meio ambiente” e “Pelo mundo da moda: criadores, grifes e modelos”, que tem prefácio de Vivienne Westwood.Antes de se mudar para Londres, onde conclui seu mestrado em curadoria da UAL, a Universidade das Artes de Londres, Lilian lecionava no mestrado de Jornalismo Cultural da Faap. Em 2019, ela assinou a curadoria da segunda etapa do projeto Masp Renner. Desde 2021, Lilian passou a integrar o board internacional de História das Roupas de Banho da BikiniART Museum Foundation.A exposição "Expressão dos tecidos: a narrativa a partir das padronagens” poderá ser visitada no Chelsea Espace, de 3 a 9 de julho.

In this episode Gary Mansfield speaks to Holly Stevenson (@holly__stevenson)Holly Stevenson makes fluid ceramic forms that explore Sigmund Freud's favourite ashtray and last cigar as an analytical metaphor.Her vessels diligently embody the ashtray and cigar as though they were two gendered male and female forms, the yonic ovular dish and the cylindrical phallic cigar, as she reconfigures them into a material language of her own. Holly graduated from Chelsea College of Art and Design Fine Art MA in 2011 with the generous help of the Stanley Picker Trust and was awarded the MFI Flat Time House Graduate Award, supported by the John Latham Foundation. Recently she was selected for the Mother Art Prize 2020, had her first solo show at Sid Motion Gallery and been awarded her first public art commission by The CoLAB Temple for The Artist's Garden. For more information on the work of Holly Stevenson go tohttps://www.holly-stevenson.co.ukTo Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

Ocean Viva Silver, de son vrai nom, Valérie Vivancos, est une artiste et compositrice française née en 1971 dont l'œuvre navigue entre musique concrète, électronique et ambient. Elle quitte la France pour l'Angleterre et se forme, au cours des années 1990, à l'Arden Center de Manchester et au Chelsea College de Londres. Elle débute sa carrière à Paris à partir de 2004 aux côtés de Rodolphe Alexis avec qui elle fonde la revue sonore Vibrö (publiée sur CD), ainsi que le duo OttoannA, tourne dans toute l'Europe et publie Federated States of Micronesia en 2014. En parallèle, elle collabore à l'administration et aux éditions du GRM (Groupe de Recherches Musicales) à Paris. Sa carrière solo s'intensifie en 2010. Elle est depuis l'autrice des albums Echolalia (2014), Sleep in Opera (2016), Îpe (2020) et Ħal Saflieni (2022) sans oublier ses collaborations auprès de compositrices et musiciennes comme Limpe Fuchs et le trio Terra Incognitae (aux côtés de Kamilya Jubran et Soizic Lebrat). Depuis 2016, elles est l'une des fondatrices et animatrices du réseau Fair Play, dédié à l'histoire et à la visibilité des compositrices, créatrices sonores et techniciennes du son.  Un face à face avec Jean-Yves Leloup. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nuestra Palabra: 2023 ALMAAHH & MFA Studio Artists Spotlight! Tony Diaz will be interviewing a few artists and spotlight them on their artistic work as part of the 2023 ALMAAHH & MFAH community! Viri Ramos was introduced to painting at an early age by her mother who was a classically trained oil painter. Growing up they would often work along side each other. Upon graduating college, she made the move from Monterrey, México to Houston, Texas. It was during her time living on her own that she discovered acrylics, which were better suited for her not so well ventilated studio apartment. She found in acrylics the best match for her laid back relaxed aesthetic and personality. Her paintings are filled with life and fun. They are happy and playful.. at times serious, but mostly not at all. She favors rough strokes and bold colors. Instagram: @viriviriramos Website: www.viriramos.com Gerardo Rosales born in Venezuela is a multidisciplinary artist and educator who has been living and working in Houston, Texas, for 21 years. Rosales first started producing art as a self-taught artist, before attending the Armando Reverón Art Institute in Caracas, Venezuela, where he earned a B.A. in Fine Art. After graduating, he moved to London to study at Chelsea College of Art and Design, where he obtained an M.A. in Fine Art. Achieving recognition for his distinct and original work in Latin America's best known art venues, Rosales has continued developing his art career in Houston. Rosales's art calls attention to social issues, using a personal iconography connected to his experience as an immigrant in the US. His work is informed by traditions of western art and Latin American folk art. Rosales' latest art projects include: Commissioned to produce 3 big artworks for the new International Arrival Terminal at Bush International Airport; “Juicy Jungle” at Bill Arning Exhibitions, Houston (current) ; “Ornamento y Delito” at Carmen Araujo Arte , Caracas, Venezuela , 2022; “The Tree of Life” at Houston Botanic Garden (current); ¡Displaced Mundo! a wall painting at the Moody Center for the Arts, Rice University, 2021; “The Banquet” a wall painting at Lawndale Art Center , 2021. During 2018 -2019 Rosales was an artist-in-residence in The TransArt Foundation for Art and Anthropology; from 2019-2021was the artist-in-residence at Lawndale Art Center in Houston. He was awarded the 2019 Support for Artists and Creative Individual Grant from the City of Houston, through the Houston Arts Program. Nela Garzón is a multidisciplinary visual artist with a profound interest in exploring foreign media inspired by traditional crafts and cultures from all over the world. Born and raised in Bogotá, Colombia, she obtained a Bachelor's of Visual Arts from the Pontificia Universidad Javeriana on 2004. In Colombia she worked as a freelance artist and took part of national exhibitions such as 12 Salón Regional de Artistas, 41 Salón Nacional de Artistas and 4to Salón de Arte Bidimensional. She immigrated to the U.S. on 2010 and settled in Houston on 2012 where she currently lives and works. Her art has been shown around the U.S. On 2019 she was the 1st place award recipient of the Assistance League of Houston Texas Art Show curated by Jennie Goldstein, Assistant Curator of the Whitney Museum of American Art, on 2020 she was selected as a LIFTS grant recipient and two of her works were added to the West Collection located in Philadelphia, PA and on 2022 she was commissioned by the Museum of Fine Arts Houston to create a temporary sculpture that was showcased at the Lillie and Hugh Roy Cullen Sculpture Garden. Nela Garzón www.minkstereo.com Nuestra Palabra is funded in part by the BIPOC Arts Network Fund. Instrumental Music produced / courtesy of Bayden Records Website | baydenrecords.beatstars.com

Pedro Gomes, Moçambique 1972, vive e trabalha em Lisboa. Em 1998 terminou o Master in Fine Arts no Chelsea College of Art, Londres depois de ter concluído o curso Avançado de Artes Plásticas no Ar.Co em Lisboa (1991-96), Em 1997-98 foi bolseiro da Fundação Calouste Gulbenkian.Das suas exposições individuais destacam-se: SPECTRUM 48 K, Galeria Presença, Porto, 2022, O MERGULHO, Casa das Artes de Tavira, ENCONTRO ÀS CEGAS, Museu Nacional de Arte Contemporânea do Chiado, Lisboa, ambas em 2020, A ÓTICA DO UTILIZADOR, Appleton Square, Lisboa em 2019. UM QUARENTA na Galeria Diferença, Lisboa, URBE, Museu Arpad Szenes - Vieira da Silva, Lisboa, e um solo Project na Drawing Room em 2018. PANORAMA. 16 DE SETEMBRO, Galeria Presença, Porto em 2017, A TORRE, Galeria Miguel Nabinho, Lisboa, em 2016. id, galeria 111, Porto em 2012, id, galeria 111, e Pavilhão Branco do Museu da Cidade, Lisboa em 2011. Amnésia, Galeria 111, Porto e Lisboa e Atelier, Empty Cube, Appleton Square, Lisboa, em 2009. TEC., Museu da Electricidade, Lisboa, From Combat to Leisure, Museu de Arte Contemporânea de Elvas, em 2008. Imagens Impressas, Galeria Filomena Soares, Lisboa, 2007. Sinais Exteriores, Galeria Filomena Soares, Lisboa, Ter, Museu Nacional de Arte Antiga, Lisboa, Ter / Contacto, Museu Grão Vasco, Viseu, Contacto, Círculo de Artes Plásticas de Coimbra, Coimbra Palleiros, A Chocolataría, Santiago de Compostela todas em 2005. Vá Para Fora Cá Dentro, Galeria Filomena Soares, Lisboa, 2002. Controle Remoto, Museu de Arte Contemporânea, Fortaleza de São Tiago, Funchal e Acesso, Galeria Presença, Porto, 2001. Participou em inúmeras exposições colectivas destacando-se: PORQUÊ? A arte contemporânea em diálogo com o pensamento de José Saramago , Museu Nacional de Arte Contemporânea do Chiado, Lisboa em 2022, The Peepshow. Artistas da Coleção de Arte Portuguesa Fundação EDP, MAAT – Museu de Arte, Arquitetura e Tecnologia, Lisboa, em 2021; A guerra como modo de ver: obras da Coleção António Cachola, MACE - Museu de Arte Contemporânea de Elvas, 2019; As Casas na Colecção do CAM, Centro de Arte Moderna - Fundação Calouste Gulbenkian, Lisboa, 2016; A Ciência do Desenho, Casa da Cerca, Almada em 2012, Ponto de Vista: Obras da Colecção da Fundação PLMJ, Museu da Cidade, Lisboa, 2008; 50 Anos de Arte Portuguesa, Fundação Calouste Gulbenkian, Lisboa, em 2007, NonStopOpening-Lisboa, Galeria ZDB, 2000, Sete Artistas ao Décimo Mês, CAM, Fundação Calouste Gulbenkian, em 1996.Em 2019, faz o Mural de Homenagem ao Fado. Largo de Santo Antoninho, Lisboa e em 2015 a Escultura dos 25 anos da meia maratona de Lisboa, Lisboa, projectos de arte publica. Recentemente participou no projeto Contra-parede, com curadoria de Hugo Dinis, que apresenta obras suas em diálogo com obras dos artistas Ana Vidigal e Nuno Nunes-Ferreira, numa exposição itinerante por Tavira, Caldas da Rainha, Abrantes e Vila Nova de Foz Côa.A sua obra está representada nas seguintes coleccções: Museu Calouste Gulbenkian - Colecção Moderna, Lisboa, Colecção António Cachola, MACE - Museu de Arte Contemporânea de Elvas, Colecção de Arte Fundação EDP, Lisboa, MUDAS. Museu de Arte Contemporânea da Madeira, Funchal, Fundação PLMJ, Lisboa, Coleção Manuel de Brito, Oeiras, Coleção Norlinda e José Lima, Oliva Creative Factory, São João da Madeira Coleção Fundação Leal Rios, Lisboa, Coleção de Arte do Estado, Portugal. Links: https://sites.google.com/site/pedrogomesarte/ https://appleton.pt/pedro-gomes/?lang=pt-pt https://col-antoniocachola.com/?cat=550&lang=pt https://umbigomagazine.com/pt/blog/2020/03/30/25-anos-de-trabalhos-de-pedro-gomes-no-mnac/ https://maat.pt/index.php/pt/event/lado-b-pedro-gomes-1 https://expresso.pt/cultura/2020-08-15-Materia-dada.-Pedro-Gomes-as-cegas-no-Chiado https://drawingroom.pt/portfolio/pedro-gomes-2/Episódio gravado a 22.12.2022 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral Financiamento:República Portuguesa - Cultura / DGArtes Apoio:Câmara Municipal de Lisboa

Richard Dudzicki is the founder and director of RDA Architects Ltd. Starting with a team of just 3 people and £2,000 funding from The Prince's Trust, RDA now employs a team of 10-15 people and is now turning over more than £1,000,000. The practice works on projects worth around £20 million. RDA are purveyors of BIM and are exploring the use of virtual reality in the Architectural Profession. The practice has a commitment to working with new technologies, off-site construction, and Passivhaus design. At least 20% of the time is spent working with R&D in the industry exploring new sustainable ideas. To date, RDA has built eight certified Passivhaus's and are striving to meet London's 2050 Net Zero commitment. As “ LETI Pioneers” Richard and his team are experts in this field. Richard comes from a second-generation immigrant Polish-speaking family, born in London. He has travelled extensively in search of his family's epic refugee and2nd world war tale. His undergraduate Architecture degree was gained in Liverpool, whilst gaining a distinction for his post-graduate qualification in London using Film as a basefor studying Architecture. He has been a lecturer for some ten years at Chelsea College of Art, Greenwich and Southbank University. He has had a column in Building Design, written in other publications and appeared on the BBC. He has worked in Hong Kong and Mumbai as an Architect. Though the longing of his motorcycle explorations beckoned for him to carry on exploring the world on two wheels. From Nepal to India to the States on a Harley. He still prefers two wheels to four, though now cycling. His firm RDA is an internationally experienced, multi-award-winning studio, celebrating 25 years in practice. Their core work is the design and delivery of innovative, ecologically sensitive buildings that encourage a better, cleaner way of living and working. They are highly regarded by clients and the industry fordelivering certified Passivhaus schemes, embracing modular and offsite construction, achieving planning on awkward or sensitive sites, and designing beautifulbespoke interiors. Hosted on Acast. See acast.com/privacy for more information.

Heute hört ihr eine Spezial-Ausgabe mit der größten Creatorin aus Österreich. Ihr Kanal “Maqaroon” zählt 2,69 Millionen Abos. In Wien trafen sich die DiY-Creatorin Joanna Zhou und Google-Pressesprecher Wolfgang Fasching-Kapfenberger zu einem interessanten Gespräch über langen, kurzen und Schneeball-Content! Denn mit einem Video über einen Schneeball in Form einer Ente sammelte Joanna bislang 240 Millionen Views auf Shorts. Joanna ist eine erfahrene Creatorin, die seit 7 Jahren auf YouTube aktiv ist. In Österreich gilt sie als Multiformat-Creatorin der ersten Stunde und war auch eine der ersten, die auf Shorts setzte. Ihr Tipp für Shorts? Für die Produktion eines Kurzvideos nicht mehr als 30 Minuten Zeit aufwenden. Diesen und noch mehr hilfreiche Tipps hört ihr in dieser Episode. Joannas Biographie: Sie wurde in China geboren und ist in Wien aufgewachsen. Nach der Schule studierte sie Grafikdesign in London (Central St Martins & Chelsea College of Art) und arbeitete nebenbei als Manga-Zeichnerin. In 2011 gründete sie ihr eigenes Design-Label namens Maqaroon und begann Social Media Marketing zu machen. Sie drehte Bastelvideos, die als Content Marketing für Armbänder gedacht wurden. Ihr YouTube Kanal fing an zu wachsen und in 2016 entschloss sich Joanna, vollzeit YouTube zu machen. Joanna wohnt derzeit in Linz mit ihrem Mann und kleinen Tochter. Lockdown-bedingt hat sie 2020 angefangen Short-Form Videos auf dem Handy zu machen. Seitdem produziert sie regelmäßig Long & Short-Form Videos und war seit dem ersten Tag bei YouTube Shorts dabei. Joanna liebt Koalas, Videospiele, Lesen und Reisen. Ihre Lieblingsgenres auf YouTube sind Urbex, Gaming und Video-Walks von Tokyo & London. Infos zur Vermarktung auf YouTube gibt es hier: https://blog.youtube/intl/de-de/news-and-events/made-on-youtube-wir-unterstutzen-die-nachste-generation-kreativer-unternehmerinnen/ Und hier ein Podcast zu dem Thema, was alles neu sein wird in 2023: https://meineyoutubestory.podigee.io/23-neue-episode [Maqaroon] (https://www.youtube.com/@maqaroon) auf YouTube

Professor Rebecca Earley is a design researcher and award-winning team leader at University of the Arts London and is based at Chelsea College of Arts where she is Professor of Circular Design Futures. Initially, she trained as a printed textile designer before creating her own fashion label, B.Earley, in 1995. Her prints and garments have been commissioned by the likes of Bjork and Damien Hirst. They are also in the collections of the V&A and the Pitt Rivers Museum in Oxford. More recently though, she has carved a global reputation as one of the leading thinkers around the need for fashion to become circular. Projects include HEREWEAR, which investigated how bio-based agricultural waste could be turned into material for locally-made clothing and TRASH2CASH that brought designers together with scientists to find ways to regenerate waste cotton and polyester. Not only that but she also co-founded World Circular Textiles Day in 2020.In this episode we chat about: how she started using polyester and why it's a problematic material; idealism versus pragmatism and transition rather than revolt; the value system we build around materials; discovering textile design by chance; empowering women through the education system; circularity's relationship with the market; designing systems; the importance of people; and her love of wild swimming.Support the show

Cristina Iglesias is a Spanish born artist who studied Chemical Sciences at the University of the Basque Country and Ceramics and Sculpture at the Chelsea College of Art in London. Her museum exhibitions include Centro Botín, Santander, Spain; Museo Reina Sofía, Madrid; Ludwig Museum, Cologne; Whitechapel Art Gallery, London; and Solomon R. Guggenheim Museum, New York. She additionally has been commissioned to create major projects and installations at Bloomberg headquarters, London; Mexican Foundation of Environmental Education, Baja, California; Museo del Prado, Madrid; and Royal Museum of Fine Art, Antwerp, among many others. She and Zuckerman discuss studio spaces, collaboration, being with ourselves, dreaming, constructing landscape, memory and imagination, transiting, and remembering!

In this episode of interrogating spaces, Dr Emily Salines takes us on an exploration of feedback practice, and how we might take a more compassionate approach.The impact of feedback on student learning is well documented in educational literature. We also know that it is a critical area of practice where the emotional impact of assessment is at play. We speak with a number of practitioners, teachers and students to set out to map a framework for compassionate feedback practice and how we might enact it The questions we are asking are:How can we harness feedback to support learning in a way that does no harm and supports students?How can we use feedback to foster belonging?Can compassion help us? And what would compassionate feedback look like?Speakers:Liz Bunting is an Educational Developer at University of the Arts London, where she co-leads a programme of educational development on Fostering Belonging and Compassionate Pedagogy. She supports colleagues in creating educational ecosystems that promote social justice through compassionate cultures, policies and practices. Her research investigates belonging, compassion and trauma informed care in Higher Education.Vikki Hill is an Educational Developer: Attainment (Identity and Cultural Experience) in the Academic Enhancement Team at University of the Arts London (UAL). A Senior Fellow of the HEA, Vikki works with staff to support equitable outcomes and experiences for students. Vikki's research is focused on educational development, compassionate assessment, pedagogies and policies through arts-based and posthuman approaches.Dr Emily Salines is a former member of the Academic Enhancement Team at UAL, where, as Educational Developer she co-led the Enhancing Assessment for Equity strand of Academic Enhancement work until September 22. She is now Head of Education Programmes at Queen Mary Academy (Queen Mary University of London). Her research focuses on assessment design, assessment for social justice and approaches to compassionate feedback. Dr Anna Troisi is Course Leader for the BSc Creative Computing at the Creative Computing Institute (CCI), UAL. Anna is a member of the UAL Ethics Research committee. Her initiatives to promote social justice with the introduction of non-violent communication enhanced students' experience and enabled students' agency in the curriculum. Dr Victoria Odeniyi is a Decolonising Arts Institute research fellow where she leads the Reimagining Conversations research project which seeks to raise critical awareness of the educational and creative potential of the use of language. She has research and professional interests in educational inequality, linguistic diversity and institutionalised knowledge production and how these issues intersect with race and identity.  Student contributions: Simbi Juwon-Sulaiman: Graphic Communication, Central St Martins, UAL  Amina Akhmedova: Fine Art, Chelsea College of Arts, UAL 

In this episode Gary Mansfield speaks to Kate Knight (@knightpainter)Kent based artist Kate Knight works primarily with figurative imagery.Within the drawn explorations of nature, Knight's concerns are upon the aesthetics of desire, sex and death. The works are provocative, playful, harsh and tongue in cheek. The compositions establish a series of graphic signs, aiming to evoke a narrative whether epic or fleeting.The current developments juxtapose a darker underbelly, presenting unease; as well as the guardianship of something sacred. This response is loaded with a sense of otherness, something beyond the ordinary; a dystopian landscape. Knight currently works in biro as well as painting and sculpture. The use of biro on such a large scale is labour intensive; enabling very fine detail and presenting an etched like quality. Knight approaches drawing in much the same way as she paints, for this reason she considers herself to be primarily a painter.Knight studied her BA Fine Art Painting at Chelsea College of Art and design 2005. She was selected as the runner up for the Marmite Prize for Painting 2010 as well as being selected for ‘Artist of the Day' Flowers Central on Cork Street 2010 by professor Mo Throp. She is a regular participant at London's prestigious Art Car Boot FairFor more information on the work of Kate Knight go tohttps://kateknight.orgTo Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

A special edition episode featuring the plenary speakers of the ACJ 'Beyond Silver' Conference Dr. Jivan Astfalck and Professor Theo Smeets. A discussion about the key themes of the conference, the field and the subject of jewellery.  Dr. Jivan Astfalck is Professor of Jewellery Art and Design at Birmingham City University. Born in Berlin, where she trained as a goldsmith, she has been living in London for more than 30 years. She obtained her MA in the History and Theory of Modern Art at Chelsea College of Art and Design, and her PhD in Fine Art at the University of the Arts London. Theo Smeets has been working since 1998 as Professor for jewellery at the University of Applied Sciences Trier at the Department of Gemstone and Jewellery in Idar-Oberstein. He has been Head of the Department since 2017. He studied gold- and silversmithing at Schoonhoven (1982-1986) and jewellery design at the Gerrit Rietveld Academy (1986-1992) in Amsterdam.

Selamat datang kembali di Nona Chats - seri di mana kita berbicara dari hati ke hati dengan Nona yang sangat inspiratif dari berbagai bidang. Di sini kita berbicara tentang segalanya, termasuk kehidupan pribadi mereka, perjalanan karir mereka, healthy habits mereka, dan tentu saja cerita menstruasi mereka. --- Nona Chats with Agatha Carolina: Lahir pada tahun 1988 di Jakarta, Agatha Carolina (@agathacarolina) meraih gelar Sarjana Arsitektur dari Universitas Parahyangan, Bandung dan gelar Magister Desain Interior dan Tata Ruang dari Chelsea College of Arts, London. Dia menikmati menghabiskan waktu luangnya dengan jalan-jalan, menjelajahi dunia, belajar tentang sesuatu yang baru, dan membaca berbagai macam buku, dari arsitektur hingga fashion. --- Nona Woman: Website: www.nonawoman.com Instagram: @nonawoman Youtube: Nona Woman Nona Woman Mobile App: Apple App Store: Download Free Google Play Store: Download Free

In this episode, Tamsin is in conversation with Lucy Burt of Nest Interior Design. They talk about how to make the former marital home your own and how to make small changes that make a big difference. Whether you're selling your marital home and buying a new place or want to change up your former marital home, this one is for you.Lucy founded nest some fifteen years ago after re-training at Chelsea College of Art & Design and has been designing interiors of all shapes and sizes ever since. Her previous life was in IT and now she channels all those skills gained in managing clients, suppliers, budgets, projects and teams into organising interior projects – much more fun!All this time later, she still feels very lucky to ‘do interiors' for a job. Projects are so varied, working with different clients, budgets and briefs each time so there is always something new to learn and never a dull day.Lucy lives in Sale, Cheshire with her various unruly animals and children.Instagram @designbynestwww.nestinteriordesign.co.uk0161 414 0032hello (at) nestinteriordesign.co.uk-- Tamsin is a Chartered Financial Planner with over 20 years experience. She works with couples and individuals who are at the end of a relationship and want agree how to divide their assets FAIRLY without a fight.You can contact Tamsin at tamsin@smartdivorce.co.uk or arrange a free initial meeting using https://calendly.com/tamsin-caine/15min. She is also part of the team running Facebook group Separation, Divorce and Dissolution UKTamsin Caine MSc., FPFSChartered Financial PlannerSmart Divorce Ltdhttps://smartdivorce.co.ukP.S. I am the co-author of “My Divorce Handbook – It's What You Do Next That Counts”, written by divorce specialists and lawyers writing about their area of expertise to help walk you through the divorce process. You can buy it here https://yourdivorcehandbook.co.uk/buy-the-book/Support the show

Nordmark Pod får besök av filmregisören, manusförfattaren skådespelaren, och artisten Johan Jonason!Det samtalas om och att; Själen, Snabba Cash,  Man Tear, skapa utan press, vild kreativitet, vad det är för djur, hänga på en annan valuta, samhällsfunktionen, när nerverna tar över, under ytan, Brian Eno, bli författare, Chelsea College, hitta sitt signum, livet i tiden, under den mysiga ytan bor ett svart hav, rökbomber, metal och synth, de hatar mig, det första starka minnet, skådespeleriet och att stå på scen… Mäktigt!

The artist Alison Jackson, 61, grew up in the shires among the landed gentry but its been rock n roll and upsetting the establishment applecart since she studied sculpture at the Chelsea College of Art and then photography at the Royal College of In 1999 her photographs of a lookalike Princess Diana and Dodi Fayed with a mixed-race child caused a storm and in 2003 she made Doubletake, a BBC2 series that won a Bafta . In November 2016 she staged a rally featuring a Donald Trump doppelganger and women bearing slogans such as “Don't snatch my pussy”. I've been to her show Double Fake, she has six photography exhibitions touring and her work is celebrated for exploring the power of imagery and illusion - she creates photographs that seem to seem to show our favourite celebrities (Diana, The Queen, Camlla, Kim K or Brad Pitt) doing what we really, secretly, want to see them doing.

This week, Maureen Taylor, The Photo Detective, is joined by Tom Butler, an artist whose work may be controversial to some listeners. Tom uses unidentified cabinet cards to create art, often altering the original image to enhance them, which begs the question if he is destroying the image, or creating something even better than before.Related Episodes:Bonus Episode: Stitching on Pictures with Stitchography by EmmaEpisode 153: Ellis Island Immigrant Photo IdentifiedLinks:Sign up for my newsletter.Watch my YouTube Channel.Like the Photo Detective Facebook Page so you get notified of my Facebook Live videos.Need help organizing your photos? Check out the Essential Photo Organizing Video Course.Need help identifying family photos? Check out the Identifying Family Photographs Online Course.Have a photo you need help identifying? Sign up for photo consultation.About My Guest:For the last twelve years artist, Tom Butler has been appropriating anonymous Victorian cabinet cards with incorporated personal symbols such as hair, masks, flowers, and geometric abstractions, painted on the surface with gouache. In the process, he attempts to reveal the imagined personalities of the sitters while in the knowledge that he is cloaking them with parts of himself. He also makes self-portraits and uses cabinet cards and found photographs to create collages, sculptures, and rubbings to express both a love of the medium and a critique of photography as a whole.Butler was born in London, England and now lives in Portland ME, USA. He studied at Winchester School of Art, University of Southampton, Chelsea College of Art, UAL, and the Slade School of Fine Art, UCL. He exhibits internationally and his work can be found in collections such as The British Museum and Soho House.About Maureen Taylor:Maureen is a frequent keynote speaker on photo identification, photograph preservation, and family history at historical and genealogical societies, museums, conferences, libraries, and other organizations across the U.S., London, and Canada.  She's the author of several books and hundreds of articles and her television appearances include The View and The Today Show (where she researched and presented a complete family tree for host Meredith Vieira).  She's been featured in The Wall Street Journal, Better Homes and Gardens, The Boston Globe, Martha Stewart Living, Germany's top newspaper Der Spiegel, American Spirit, and The New York Times. Maureen was recently a spokesperson and photograph expert for MyHeritage.com, an internationally known family history website, and also writes guidebooks, scholarly articles, and online columns for such media as Smithsonian.com. Learn more at Maureentaylor.comDid you enjoy this episode? Please leave a review on Apple Podcasts.Support the show

Today on Shut the Front Door we are delighted to be joined by award-winning luxury interior and furniture designer Fiona Barratt-Campbell. Fiona is the Founder and Creative Designer of FBC London and Fiona Barratt Interiors. With over eighteen years' experience leading Fiona Barratt Interiors, having trained at London's Chelsea College of Art followed by Parsons School of Design in New York, Fiona is sought by clients for her imaginative use of texture, colours and shapes, all interpreted into graceful and timeless designs. Since her very first commission in 2006 – a 12,000 sqft ski chalet in Switzerland, for Richard Branson – her company's international perspective has been awarded with ambitious projects in UK, Mallorca, Hong Kong, Moscow and Beirut. Design has always been in Fiona's DNA. Her chief mentor and greatest inspiration was her grandfather, property developer Sir Lawrie Barratt, founder of one of the largest residential property development companies in the UK in 1958, Barratt Homes. Married to Sol, and mother of three, Fiona we are delighted to welcome you to Shut the Front Door today….Shut The Front Door is produced by @vmdigital.ie | www.vmdigital.ie.Email the podcast: shutthefrontdoor@ventura.ie

Allison Dillett, a leader in the Beauty and Fitness industry and VP of the World Beauty, Fitness and Fashion Show joins Nataliya to discuss the importance of building a healthy lifestyle and setting goals along with her own journey as the World Beauty, Fitness and Fashion Show has grown to be a global force on every continent across the world. Paul Dillett - the world-famous bodybuilder with a physique that intimidated everyone who came close to him. Paul Dillett first competed in professional bodybuilding when he took second place in the heavyweight division of the 1991 North American Championships, and following that there were numerous wins on the stages of Mr. Olympia, Ironman Pro Invitational, Arnold Classic and others. He's been featured in many fitness and bodybuilding articles, including being on the cover of Muscular Development magazine.  As an organisation that creates opportunities for others to succeed this episode is a fascinating insight into the work that underpins creating the magical moments on stage and why being healthy and living a healthy lifestyle is the key.   KEY TAKEAWAYS Everyone in the world wants to be fit and feel great We've created a new pathway where everyone can build the body they want and feel fabulous Everyone has their own body type and goals and we welcome everyone with both amateurs and professionals taking part We truly change people's lives impacting them in so many different ways because what we do is so special Creating goals is important in being able to achieve but ultimately it's about the journey It's about the process and believing in yourself to push through the challenges It's  about self-development and self-mastery I want to inspire others to understand it's about being genuine and kind There is a lot of work that goes into creating the moments on stage We keep moving forward and creating stars around the world, it's the special gift we have, seeing others succeed in the industry Bodybuilding is building your body from the inside out with discipline and immense commitment You need to have the right team around you when you are competing and as part of your training journey When you compete it's a learning experience and the World Beauty, Fitness and Fashion show focuses on being healthy and living with a healthy lifestyle   BEST MOMENTS ‘I love being fit and feeling healthy' ‘We are in every continent worldwide' If you want it you can make it work, there is no excuse   VALUABLE RESOURCES Beehive Household podcast WBFF Shows Allison Dillett Instagram Paul Dillett Instagram   ABOUT THE HOST Nataliya Lloyd is a finance expert and after 15 years of studying and working in the industry, she changed tack and went with her dream of becoming an entrepreneur and followed her creative call.  She is now the owner of Nataliya Lloyd Interiors, with an Interior Design certification from the Chelsea College of Arts. Nataliya is also the Finance Director and a supporter of the charity Professors Without Borders, which specialises in providing university-level short education courses in developing countries. She is a member of a pre-eminent members' club for women in business - The Sorority. But most importantly, she is a wife, daughter and a mother. You can connect with Nataliya on: LinkedIn https://www.linkedin.com/in/nataliya-lloyd-32a24547/ Instagram https://www.instagram.com/nataliyalloydinteriors/ Facebook https://www.facebook.com/NataliyaLloydInteriors/ And her website: www.nataliyalloydinteriors.com               See omnystudio.com/listener for privacy information.

Elyas was awarded the Anne & Gordon Samstag International Visual Arts Scholarship in 2019 which enabled him to undertake a Master of Fine Arts at Chelsea College of Arts, London . He discusses the process of applying, selecting an institution, the factors influencing his decision and how he navigated the disruption of a global pandemic. On Art is supported by the Gordon Darling Foundation and Solstice Podcasting, edited and produced by Tilly Balding in Tartanya/Adelaide on 10 December.

"Heute reisen wir an den Polarkreis und nehmen uns der ganz großen Themen an. Ist das der Durchbruch? Das Bild: Deaf Mute, Öl auf Leinwand, 160 x 140 cm, 2019, EUR 9.200 Die Künstlerin: Jill Tegan Doherty, geboren 1983 in Nottingham, England, studierte in London am Chelsea College of Art and Design, das zur Royal Academy gehört. Ihre künstlerische Karriere begann sie in London mit zahlreichen Ausstellungen, u.a. in der Sommer-Ausstellung der Royal Academy. 2011 zog sie nach Berlin, wo sie seither lebt und arbeitet. In ihren Arbeiten konfrontiert sie den Betrachter mit Mischwesen aus Mensch und Tier, Tieren, die menschliche Gesten übernehmen oder in traditionelle Rollen schlüpfen. Wie Traumbilder aus den Tiefen des Unterbewusstseins spielen sie mit den Normen unserer Vorstellung und Klischees. Ihre 2018 entstandene Serie „The Forest As An Alternate Kingdom“ präsentiert eine geheimnisvolle Welt, die irritierend rätselhaft und wunderlich bezaubernd zugleich ist. Die Malereien in Öl bestechen durch ihre Präzision, die auratischen Farbnebel und das Leuchten, das aus der Tiefe des Bildes hervor zu glimmen scheint."

Paola Diana is a successful entrepreneur, best-selling author and female rights activist. She embarked on a political journey after studying Political Science and Institutional Relations in her home country of Italy, where she joined the political campaign of former Prime Minister Romano Prodi. Paola currently lives in London, having founded Artermide Recruitment, which specialises in sourcing childcare, household staff and personal assistants for high net worth individuals.  She is the bestselling author of ‘Saving the World. Women: the XXI's Century Factor for Change' and a prominent activist and philanthropist for women's rights especially in the problem areas of domestic violence and women's safety. Paola and Nataliya talk about her abusive childhood and how it influences her choices in adulthood, her political beliefs and her ideas on the best path for modern women. To allow more stories to be heard with no filters and no hypocrisy, she has become the executive producer and host of the highly inspiring YouTube show and Apple Podcast: ‘Unleashed. The Game Changers'. Paola also has a huge appreciation for interior design and takes the listeners through her beautiful home, describing the inspirational artists whose work she displays in her house, and candidly shares her aspirations for the future.   KEY TAKEAWAYS Paola grew up in a patriarchal and conservative family. She  had to find the courage to speak up. Believing in yourself and your value is the most important thing. Her childhood was dominated by her father who was very controlling. She found her strength with friends outside her home and became independent as young as possible by pursuing her education. When creating her own family Paola uses communication and non violence to avoid a dominating and controlling environment.  No one should stay in an unhappy or dangerous marriage. A marriage can be good if you find someone who treats you like an equal but if you don't find that its better for a woman to be on her own. There is still a huge amount of stigma around divorced women and single women. Women should feel free and valued if they are not in a relationship. The #metoo movement despite its flaws has broken the cycle of silence and violence and allowed women to speak up disempowering men who abuse their dominant position. Paola's experience in her early political career made her realise how polarised to the fringes of power and influence women are and encouraged her to write her book. Paola trains in Brazilian Jujitsu to keep fit and competes. She suggests it to all women for its self defence component.     BEST MOMENTS ‘For me you represent modern women of today, you are independent, successful and highly confident.' ‘Usually in families big dramas can come from small things because everything starts from control.' ‘I think family comes first before everything else.' ‘It's the same as in the past in Italy with the Mafia. When people are silent horrible things happen.'   VALUABLE RESOURCES Beehive Household Podcast www.paoladiana.com Paola Diana's IG Paola Diana's LinkedIn Paola's Book on Amazon ‘Saving the World' Paola's Video Podcast on Youtube: Unleashed. The Game Changers. Paola's Audio Podcast: Unleashed. The Game Changers. ABOUT THE HOST Nataliya Lloyd is a finance expert and after 15 years of studying and working in the industry, she changed tack and went with her dream of becoming an entrepreneur and followed her creative call.  She is now the owner of Nataliya Lloyd Interiors, with an Interior Design certification from the Chelsea College of Arts. Nataliya is also the Finance Director and a supporter of the charity Professors Without Borders, which specialises in providing university-level short education courses in developing countries. She is a member of a pre-eminent members' club for women in business - The Sorority. But most importantly, she is a wife, daughter and a mother. You can connect with Nataliya on: LinkedIn https://www.linkedin.com/in/nataliya-lloyd-32a24547/ Instagram https://www.instagram.com/nataliyalloydinteriors/ Facebook https://www.facebook.com/NataliyaLloydInteriors/ And her website: www.nataliyalloydinteriors.com     See omnystudio.com/listener for privacy information.

Nora Zimerman is a Designer and Creative Director offering Soul Branding and Website Design. She creates branded website experiences that capture the true essence of a business whilst honouring their Soul's Mission. She has a talent for fully reflecting the Soul of a business onto the online space. Her clients are Teachers, Leadership coaches, Multidimensional Healers, Lightworkers and organisations delivering and supporting deep transformation and consciousness for the benefit of all. Her unique Soul Brand Alignment Method supports clients in birthing a truly aligned branded look and feel for their websites. Her extensive experience in corporations and Design agencies combined with her spiritual path and embodied feminine practices provides a potent combination of Design, Strategy and Spirituality to the Branding and Website process. She is an avid swimmer, loves singing, dancing and walking in the Surrey hills. She is also a Women's Temple facilitator and from time to time creates awesome party playlists. She is originally from Argentina and has lived in the UK for over 30 years. She lives in Surrey, UK and is a mum to two adult children.   Here's what we covered on the episode: Nora's Background in Design    How Nora and I were introduced by Lacy Boggs who was on Episode 92 of The Design Business Show   From a young age Nora knew she wanted to be a graphic designer, but there was no graphic design degree in Argentina so she settled for architecture because it was the closest thing and she had grown up around that field because her father was an architect Nora completed three years of architecture school and then began to look for other opportunities and says she did some advertising work One summer Nora's mom told her they were planning to offer a graphic design degree at The University of Buenos Aires and suggested Nora to come back to pursue it, and she did  Nora talks about being part of the new graphic design program at the university and what her experience was like  One day Nora caught a ride with 2 other men on campus and they decided to create their own studio together  Their studio was called The Reform, and Nora shares that they did a lot of well-known work for different brands and touches on the government changes Argentina was going through at the time which opened up many opportunities for them  Nora shares that the dad of one of her partners acted as their account manager and would bringing clients to them; through word of mouth people heard about their studio and started commissioning them to do work  At the studio, Nora was a designer and says they were doing point of sale, packaging, logo design, really anything they could really since they were just starting out  Nora shares that she had a job designing a rock and roll magazine and talks about how fun it was seeing all the musicians come for photoshoots and watching them play live  The studio came to an end when Nora and her partners were finishing up university While traveling, Nora met her ex-husband who was british and ended up coming to the UK knowing very little english  To learn english, Nora enrolled in a master's degree at Chelsea College of Arts because she thought it would be more beneficial to learn and talk to people about what she loves versus taking english lessons at night  Nora applied for an in-house design studio job at Procter & Gamble in the UK and worked for them nearly 15 years  One benefit to working at Procter & Gamble Nora says is that she was able to see all the marketing being done for big brands and saw how they were operating instead of just being isolated to design  Nora tells us what kind of work she did at Procter & Gamble and shares that she would write guidelines for use for many different brands which she loved doing  Towards the end of her time at Procter & Gamble, Nora felt misaligned with the products they were selling  From Freelancing to Running a Business  What moved Nora to start freelancing was her busy, unsustainable lifestyle as a single mom of 2 kids who was out working and commuting each day  About 6 years ago, Nora decided to take her design work a little more seriously and now runs her own business Nora shares that marketing her own business was challenging at first because she explains that design work is very behind the scenes and it wasn't really in her nature to promote it  Something Nora tells her clients is, no one else is going to be offering what you offer in the same exact way you do, so don't listen to all of the self doubt you may be having - remember to have a clear voice and make sure you're aligned with what you are saying   Nora realized she wanted to really collaborate with clients instead of just being an implementer of their ideas or her ideas only  When collaborating with clients, Nora really likes to fully understand the brand, understand why people are attracted to them and allow the clients to drop in and connect to the essence of their offer  Because Nora trained in women's temple facilities and ran women's circles, she began to use some of her practices for women to drop inside and really feel what if felt like to be with clients  Nora explains that what they're doing is translating the in-person experience to the online space  What women's temple training is — Nora explains that it is focused on becoming very present and attuned to what's aligned in the moment so people can become attuned to their gifts, their service and what they are here to do     Nora's Design Process  How Nora's process for her program starts with 4-6 weeks of a discovery and inquiry phase where her clients go through some video meditation and answer questionnaires — Nora shares that she got the method she uses from her mentor Michelle    Nora explains that she uses a combination of the practices she's learned to create her own in-depth process for working with clients and designing websites   How Nora works with established businesses who are upgrading, it may be through their website or through a new vision they've had or because they had a spiritual awakening and want a change     After Nora's clients go through the discovery and inquiry phase, they then prepare for the photoshoot and dive deep into what they want to communicate with the photos   Once Nora has all the material, she designs the website — Nora explains that some people want to know how to use their website so she creates tutorials for them and some people don't want to know, so she sets them up with a developer who will be supporting them and their business  Nora shares that her website design process takes a minimum of 3 months but her group program takes only 10 weeks and says her group program uses the same methodology   Tips for Creating a Successful Website  As the year comes to an end, Nora shares that she's excited to launch some of her group program client websites and she's also excited for the launch of her own website  When you're thinking about your website, Nora says to remember that it's there to create a connection, it needs to be easy to navigate, understand and the person landing on your website needs to understand why they would be a good customer or not  Nora shares three things she thinks a website needs to have for it to be successful: connection, clarity and alignment with the business  Another offer Nora has is one on one strategy sessions to help people get through the blocks they may be experiencing  If you are on any social media platform, Nora urges you to treat that platform like a website and says if you're looking to create your own website, pick existing websites you like and think about why you feel connected to them  Nora says don't be too worried about using your own words or your tone of voice because your website must be aligned with who you are   Check out Nora's website, where she offers a free masterclass which is all about aligning your soul's brand to your mission or service  Links mentioned   The Design Business Show 092 with Lacy Boggs    Nora's Website    Nora's Free Masterclass    Like what you heard?  Click here to subscribe + leave a review on iTunes. Click here to download my Sales Page Trello Board Let's connect on Instagram!

Award winning designer and entrepreneur, Fiona Barratt-Campbell is recognised as one of Britain's leading figures in the international world of interior design. Born and raised in Northumberland, Fiona draws on the history of the rugged landscape from which she was immersed growing up. Design is embedded in Fiona's DNA. Her chief mentor and greatest inspiration was her grandfather, property developer Sir Lawrie Barratt, who founded one of the largest residential property development companies in the UK in 1958, Barratt Homes, which has since inspired her to establish four very successful businesses. Fiona, now with 17 years' experience in the industry, trained at London's Chelsea College of Art followed by Parsons School of Design in New York. She went on to secure a position at a highly regarded interior design firm before launching her own successful interior design studio Fiona Barratt Interiors in 2006.

Kate Pelling and I discuss her experimental film, I'm Sorry I Abandoned You, language, her other films, her filmmaking process, her art, and her publishing business. You can catch more of her work at katepelling.com. In 2012, Kate Pelling founded Fifth Floor Publications, a publishing platform for artists' books that use transdisciplinary methods with an emphasis on experimental works that examine aspects of making artists' film and video and/or drawing practices. Kate mixes drawing, video, and a blind-editing technique to produce her experimental films. Kate Pelling studied at Wirral Metropolitan College, Birkenhead, Wimbledon School of Art, London, and Birkbeck, University of London. In 2016, she completed her Ph.D. at Chelsea College of Arts, University of the Arts London, titled 'Select Reject Reconfigure: Editing Speech in Artists' Direct Address to Camera'. Her film, I'm Sorry I Abandoned You, is an example of edited speech in artists' direct address to camera. It was also an Official Selection and selected as a Finalist in The Experimental Film Fest 2020. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support