intohoogl.blogg.se

I've been working with people that have stayed here and done community projects with other galleries in the area. But I think that in the last little while, especially since leaving Loyalist and having more time to devote to what we want to do, a lot of my projects have become very collaborative. To find the energy you need to focus on your own work. It’s wonderful but there were times where it felt like a lot of time offering yourself to others making it difficult to focus on your own projects. We have artists come into our home and we eat together, and share, and talk about their work primarily. And then leaving school and starting Spark Box, I think for a little bit I didn't really see how we were being very collaborative. It was so important to Klaudio and I that this show about us as a unit and how our work spoke to one another. We created these giant collections of our work on the wall, like a painting collage. I did a show with my friend Klaudio, and it was really a collaborative piece. In your fourth year at Queen’s you have a show in the student gallery, where you propose a show with another student. It was intense.ĬP: I think it kind of feeds into what we do. It was competitive, but in a way that was constantly pushing you to do better, be stronger, work harder. I remember people in fourth year getting into serious fights about who works harder. There's something really special about that and it was taken very seriously. Whereas at Queen's we were all together in the studio space constantly, discussing our work and being like "really, that colour?" From the first day you start you're together in this room with these people for four years. They end up taking everything they're making and working on it at home.

Since doing some work at OCAD, which is a school that doesn't have a residence and some students are living outside the city with family because it’s cost effective, we noticed they don't have any studio space until their fourth year. Most people lived either right on campus or close by, so everyone was always in the studio and always working. There was just this devotedness to the studio that I loved so much. You end up creating this little environment that’s yours and you just work all the time. You're given dedicated studio space in each one of those modules, so from the very first day you step into your classroom, it's your studio space, all of your stuff can be set up there, you can leave it there permanently. I took printmaking, Chrissy, you took painting.ĬP: You're so tight with your group and you spend an enormous amount of time in the space. Generally you just pick one focus in your fourth year, but some people choose an interdisciplinary practice. You go make work and they meet with you every week, or every other week, to check in. Then in your fourth year you write a proposal, you're given a studio space, and you no longer have that daily studio practice with an instructor. Half of the year you spend doing one, the other half you spend doing the other. Then, come third year, you get to pick two focuses, maybe painting and printmaking. So, the whole group of 30 students do the same modules through first and second year. There are only around 30 people admitted each year, and in your first year you go through four different disciplines. I think Guelph is similar? Queen's is also a much smaller program than most I've heard about. For example, you can take painting 101, 102, 202, etc.

In many other institutions, from what we’ve been told, you pick a stream. The Queen's art program is set up differently than most schools, in modules. KT: I have a really big fondness for Queen's and whenever we go back it’s very nostalgic.