This reading focuses on signature teaching practices likely to be encountered in creative arts disciplines. I found myself drawn to the section encompassing the ‘studio’ – similar to the workshop environment I work in at Wilson Road. It mentions students ‘create a social learning environment’ (Orr et al, 2017) and highlighted is the ‘centrality of the artefact in learning and the fluid nature of the tutor’s exchanges.’ (Orr et all, 2017) These two points reenforced my own teaching practice as often I have discussions one on one with students or in small groups focusing on an ‘artefact’, example of previous student work, material etc. to facilitate learning and discussion. Our space is filled with examples of work either created by myself, my colleagues or past students and they are central to how I help students with their own projects, without them I would find discussions wouldn’t be as fluid and understanding of what’s possible would be limited. It’s my role to help students understand the possibilities of digital fabrication and I’m conscious of the difficulty of translating 2d artefacts (drawings, ideas) into 3d artefacts with just words alone.
The artefacts also act as a social, peer-to-peer, teaching tool where often discussion amongst students arise after a project is in progress. For example someone creating a deep laser engraving on wood for an architectural model could spark the imagination of an illustration student who would use a similar technique to create a print. Often a student tries a new technique and suddenly there’s an influx of other students wanting to create a similar thing, which underscores the importance of experimenting with new techniques. This highlights the importance of samples we provide and the variety they should process. The Creative Tech Lab where I work is right next to the 3D Workshop and Printmaking studio and I am often explaining to students the fluidity of the workshops and how all processes can, and should, be combined together.
I found myself thinking of an artwork by Mark Wallinger ‘State Britain’ 2007. Here Wallinger recreated a protest by Brian Haw against the UN sanctions on Iraq in 2001. Brian set up camp opposite the Palace of Westminster until 2006. When Parliament passed the Serious Organised Crime and Police Act (SOCPA) in 2006, it banned unauthorised demonstrations near Parliament Square in which it was subsequently removed. The gallery space, technically still in the area the protest got banned, acted as a buffer. It was an in-between space where the protest could remain under the guise of art. This made me question the role of the studio, or workshop space. In this environment it’s my role to help students develop artworks and projects, but how can I help when they leave the workshop? I consciously promote self-directed learning and free software like Blender and Polycam, so students can take the workshop environment outside of the workshop and continue developing: ‘Is the studio more ‘a state of mind’ than a particular physical space?.’ (Orr and Shreeve, 2017)
Orr, S, & Shreeve, A (2017) Art and Design Pedagogy in Higher Education : Knowledge, Values and Ambiguity in the Creative Curriculum, Taylor & Francis Group, Milton.
Yve-Alain Bois, (2007) Piece Movement: Mark Wallinger’s State Britain, Artforum, vol.45, no.8
