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Welcome to The Arts Show. | 0:00:02 | 0:00:03 | |
Tonight we're at the Belfast School of Art | 0:00:03 | 0:00:06 | |
for the opening of the final year degree show. | 0:00:06 | 0:00:09 | |
For 165 years, | 0:00:45 | 0:00:47 | |
this college has been the touchstone for visual art in Belfast. | 0:00:47 | 0:00:51 | |
This distinctive building has marked the first step on the road | 0:00:51 | 0:00:54 | |
to international recognition for many of our most celebrated artists, | 0:00:54 | 0:00:59 | |
but changes are afoot. | 0:00:59 | 0:01:01 | |
This York Street site is about to be expanded | 0:01:01 | 0:01:04 | |
to become the centrepiece for the city centre campus | 0:01:04 | 0:01:07 | |
for the University of Ulster. | 0:01:07 | 0:01:09 | |
In a few years' time, iconic parts of the art college, | 0:01:10 | 0:01:13 | |
including the once popular Orpheus Ballroom, | 0:01:13 | 0:01:16 | |
will be transformed. | 0:01:16 | 0:01:17 | |
Plans reveal a huge glass minimalist structure | 0:01:17 | 0:01:20 | |
with an extended walkway across York Street. | 0:01:20 | 0:01:23 | |
Like other leading art colleges in major global cities, | 0:01:24 | 0:01:27 | |
there are ambitious plans to further establish the art college | 0:01:27 | 0:01:31 | |
here in Belfast as a world leader in art, design and architecture. | 0:01:31 | 0:01:36 | |
As exam season is upon us, | 0:01:37 | 0:01:39 | |
we also follow the end of year shows | 0:01:39 | 0:01:41 | |
at other creative arts colleges around Northern Ireland, | 0:01:41 | 0:01:44 | |
including music and performing arts | 0:01:44 | 0:01:46 | |
at the South Eastern Regional College at Bangor, | 0:01:46 | 0:01:49 | |
and the only all Ireland dance degree | 0:01:49 | 0:01:51 | |
at Magee in Derry-Londonderry, | 0:01:51 | 0:01:54 | |
former Belfast Art College alumni illustrator Oliver Jeffers | 0:01:54 | 0:01:58 | |
on making it from degree show to global career... | 0:01:58 | 0:02:00 | |
..and after our art show from here last year, we follow | 0:02:02 | 0:02:05 | |
up on one of those we tipped for the top, Ashling Lindsay. | 0:02:05 | 0:02:08 | |
There is such a tremendous sense of energy here tonight on what is the | 0:02:17 | 0:02:21 | |
biggest night of the year for the art college, with literally hundreds | 0:02:21 | 0:02:25 | |
of students showcasing their work, talent | 0:02:25 | 0:02:27 | |
and creativity across a whole range of the arts. | 0:02:27 | 0:02:30 | |
With celebrated contemporary photographer | 0:02:35 | 0:02:38 | |
Paul Seawright as Head of School of Art and Design, | 0:02:38 | 0:02:41 | |
and Turner-nominated Willie Doherty on the staff, | 0:02:41 | 0:02:44 | |
the college is attracting hundreds of talented students. | 0:02:44 | 0:02:48 | |
One of them has come all the way from Bulgaria to study photography. | 0:02:48 | 0:02:52 | |
His name is Stanislav Nikolov. | 0:02:52 | 0:02:54 | |
Stanislav, I believe it wasn't just the love of photography that | 0:02:54 | 0:02:57 | |
brought you here but the love of a good woman? | 0:02:57 | 0:03:00 | |
Yeah, that's right. | 0:03:00 | 0:03:01 | |
I met my partner Adrienne about ten years ago in Bulgaria. | 0:03:01 | 0:03:07 | |
Then I came to visit her here. | 0:03:07 | 0:03:08 | |
Were you a photographer back in Bulgaria? | 0:03:08 | 0:03:11 | |
Was it a hobby, was it an interest? | 0:03:11 | 0:03:13 | |
For quite a few years, it was a hobby. Then I really got into it. | 0:03:13 | 0:03:17 | |
Eventually I decided that I could see myself as a working photographer, | 0:03:17 | 0:03:21 | |
so that's when I decided to do the course | 0:03:21 | 0:03:24 | |
here at the University of Ulster. | 0:03:24 | 0:03:25 | |
Tell me about these pictures behind me and, in particular, these... | 0:03:25 | 0:03:30 | |
Are they wardrobes, or what are they? | 0:03:30 | 0:03:33 | |
Well, they're very typical Bulgarian pieces of furniture. | 0:03:33 | 0:03:38 | |
Every apartment has one of them. | 0:03:38 | 0:03:40 | |
They're quite essential because most people live in these | 0:03:40 | 0:03:42 | |
typical former communist small apartments. | 0:03:42 | 0:03:47 | |
-So all their lives are crammed into these. -The space is quite tight. | 0:03:47 | 0:03:51 | |
This is where people display their most precious possessions. | 0:03:51 | 0:03:55 | |
-It's very personal as well. -Yeah. | 0:03:55 | 0:03:57 | |
I was thinking about the idea of home and leaving home behind | 0:03:57 | 0:03:59 | |
and what home means to me. | 0:03:59 | 0:04:02 | |
It's a portrait of not only the people who live there, | 0:04:02 | 0:04:07 | |
but, you know, Bulgarian culture. | 0:04:07 | 0:04:08 | |
-You haven't brought one back to Belfast? -No. | 0:04:08 | 0:04:11 | |
What's next? You've got your degree. What's your big ambition? | 0:04:11 | 0:04:16 | |
Well, with this work, I would like to actually bring it to Bulgaria | 0:04:16 | 0:04:21 | |
and show it there. Also, I made a book with this project. | 0:04:21 | 0:04:26 | |
I would like to publish it and make that work known. | 0:04:26 | 0:04:30 | |
Good luck with it. | 0:04:30 | 0:04:31 | |
-Stanislav Nikolov, thank you so much. -Thanks very much. | 0:04:31 | 0:04:34 | |
Oliver Jeffers, the North Belfast raised illustrator, | 0:04:41 | 0:04:44 | |
writer and artist, graduated from here at the Art College in 2001. | 0:04:44 | 0:04:49 | |
Since then, he's gone on to carve out | 0:04:49 | 0:04:50 | |
an internationally successful career in children's literature. | 0:04:50 | 0:04:54 | |
Now based in Brooklyn, he also works as a painter | 0:04:54 | 0:04:57 | |
and as a film maker, | 0:04:57 | 0:04:58 | |
most recently collaborating on a music video for U2, no less. | 0:04:58 | 0:05:03 | |
I met him on a trip home to Northern Ireland. | 0:05:03 | 0:05:06 | |
Oliver Jeffers, welcome to Belfast. | 0:05:06 | 0:05:09 | |
Thank you, Marie-Louise. | 0:05:09 | 0:05:10 | |
-Do you miss it? -Do I miss Belfast? Yeah, of course I miss Belfast. | 0:05:10 | 0:05:14 | |
I still have many very good friends, and all my family is still here. | 0:05:14 | 0:05:18 | |
You haven't lost your accent either. | 0:05:18 | 0:05:20 | |
No, I'd be slapped by various people if I had. | 0:05:20 | 0:05:23 | |
Oliver's work is known to children around the world | 0:05:24 | 0:05:27 | |
having produced several books over the last decade, | 0:05:27 | 0:05:30 | |
which have won numerous awards | 0:05:30 | 0:05:31 | |
and been translated into over 30 languages. | 0:05:31 | 0:05:35 | |
It all started somewhat more by accident than design while working | 0:05:35 | 0:05:38 | |
on his final degree show project at the Belfast School of Art. | 0:05:38 | 0:05:42 | |
I had intended to become a painter, an artist, | 0:05:42 | 0:05:47 | |
before I fell into picture books. | 0:05:47 | 0:05:50 | |
When I looked back on it, | 0:05:50 | 0:05:52 | |
all of the art that I was making was very much about storytelling. | 0:05:52 | 0:05:55 | |
I was putting words and pictures together on a canvas. | 0:05:55 | 0:05:58 | |
I was very much interested in narrative | 0:05:58 | 0:06:00 | |
and momentum of an image. | 0:06:00 | 0:06:02 | |
Then whenever I came up with this idea that was originally going | 0:06:02 | 0:06:07 | |
to be a painting, it turned out to be the cover of How To Catch A Star. | 0:06:07 | 0:06:10 | |
I realised there's more life, | 0:06:10 | 0:06:12 | |
there's more potential for this image to manifest in different ways. | 0:06:12 | 0:06:16 | |
Rather than one image, this is ten images. It's an exhibition. | 0:06:16 | 0:06:19 | |
It's a collection of paintings. | 0:06:19 | 0:06:21 | |
Once I started drawing them out - | 0:06:21 | 0:06:22 | |
this is not a collection of paintings, this is a story. | 0:06:22 | 0:06:25 | |
It was at that point that I realised what was as much fun | 0:06:25 | 0:06:29 | |
as suggesting the beginning, the middle, or the end of a story | 0:06:29 | 0:06:33 | |
in a single image was to do all of them in a book format. | 0:06:33 | 0:06:36 | |
'He sent an unsolicited manuscript and illustrations | 0:06:36 | 0:06:39 | |
'to Harper Collins Publishers in London. | 0:06:39 | 0:06:41 | |
'They got back almost immediately.' | 0:06:41 | 0:06:44 | |
It landed on the right person's desk at the right time. | 0:06:44 | 0:06:46 | |
What did they say as soon as they...? | 0:06:46 | 0:06:48 | |
As soon as they phoned, they said, "Can you come to London tomorrow? | 0:06:48 | 0:06:51 | |
"Or next week. As soon as you can." | 0:06:51 | 0:06:53 | |
-Yeah. -And I did. I hopped on a plane. I even put on a tie. | 0:06:53 | 0:06:57 | |
They asked me, "Do you have other books up your sleeve?" | 0:06:57 | 0:06:59 | |
-I was like, "Yeah, of course I do." -You didn't. -No, not at all. | 0:06:59 | 0:07:03 | |
SHE LAUGHS | 0:07:03 | 0:07:04 | |
I agreed to build a wall, then learned how to build a wall. | 0:07:04 | 0:07:07 | |
How To Catch A Star established Oliver | 0:07:07 | 0:07:09 | |
as a new force in children's literature. | 0:07:09 | 0:07:11 | |
He followed it up with Lost And Found, | 0:07:11 | 0:07:14 | |
the poignant story of a young boy who befriends a penguin. | 0:07:14 | 0:07:18 | |
Its global success led to the book | 0:07:18 | 0:07:20 | |
being adapted as an animated film. | 0:07:20 | 0:07:22 | |
Where did that come from? | 0:07:37 | 0:07:38 | |
Where the idea for that story came about is actually in Belfast. | 0:07:38 | 0:07:41 | |
It was my dad telling a story of a school group | 0:07:41 | 0:07:44 | |
that went up to Belfast Zoo on a trip. | 0:07:44 | 0:07:48 | |
One of the kids managed to break away and climb into the penguin enclosure. | 0:07:48 | 0:07:53 | |
He managed to climb out with a baby penguin under his coat | 0:07:53 | 0:07:56 | |
and get the whole way home and lock himself in the bathroom | 0:07:56 | 0:07:59 | |
before anybody could figure it out. | 0:07:59 | 0:08:00 | |
I always just wondered, "What was that like?" | 0:08:00 | 0:08:04 | |
What do they talk about? | 0:08:04 | 0:08:05 | |
What is this brief friendship, | 0:08:05 | 0:08:06 | |
this relationship like between this boy and this penguin? | 0:08:06 | 0:08:09 | |
I started making drawings about it. | 0:08:09 | 0:08:12 | |
I feel like with any of the books that I make that are very satisfying | 0:08:12 | 0:08:16 | |
and really good, you catch the tail of it and then it tells itself. | 0:08:16 | 0:08:20 | |
I mean this truly, truly can be called a classic now. | 0:08:20 | 0:08:24 | |
Especially since the film has come out. | 0:08:24 | 0:08:25 | |
The exposure for that book has just been magnified. | 0:08:28 | 0:08:31 | |
-Not just any film. I mean, it won a BAFTA. -Yeah. | 0:08:31 | 0:08:35 | |
Philip Hunt and Studio AKA who made it. | 0:08:35 | 0:08:37 | |
I think they won 70 awards for it in all. Something ridiculous like that. | 0:08:37 | 0:08:41 | |
They did a brilliant job. | 0:08:41 | 0:08:43 | |
One of Oliver's best-loved books came next - | 0:08:52 | 0:08:54 | |
The Incredible Book Eating Boy - | 0:08:54 | 0:08:56 | |
and marked a departure from his previous style, | 0:08:56 | 0:08:59 | |
something his publishers initially fought hard against. | 0:08:59 | 0:09:02 | |
It almost never happened, | 0:09:02 | 0:09:04 | |
because How To Catch A Star and Lost And Found | 0:09:04 | 0:09:07 | |
were so of a type of book. | 0:09:07 | 0:09:08 | |
They were emotionally sweet and sentimental stories. | 0:09:08 | 0:09:12 | |
Book Eating Boy was not. My publisher was not keen at all. | 0:09:12 | 0:09:15 | |
Eventually, they cut a deal with me saying, | 0:09:15 | 0:09:18 | |
"We'll let you make this book if you make the book | 0:09:18 | 0:09:21 | |
"that we want to make next." I said, "OK, we'll do that." | 0:09:21 | 0:09:23 | |
What was the next one? | 0:09:23 | 0:09:24 | |
Well, that was the most successful book at that point, | 0:09:24 | 0:09:27 | |
so they never made me... | 0:09:27 | 0:09:28 | |
-They never made you do it. -Yeah. | 0:09:28 | 0:09:30 | |
At that point, I'd earned my stripes. | 0:09:30 | 0:09:32 | |
It's been a very different working relationship ever since, | 0:09:32 | 0:09:35 | |
which has been great. | 0:09:35 | 0:09:36 | |
I learned to listen to good editorial advice, | 0:09:36 | 0:09:39 | |
and they learned to know that I'm always right. | 0:09:39 | 0:09:42 | |
THEY LAUGH | 0:09:42 | 0:09:43 | |
Oliver hasn't looked back since | 0:09:43 | 0:09:45 | |
and releases at least one new book each year, | 0:09:45 | 0:09:48 | |
illustrating both his own stories and other writers' work. | 0:09:48 | 0:09:51 | |
As well as his children's output, | 0:09:51 | 0:09:53 | |
he is incredibly productive in other disciplines, | 0:09:53 | 0:09:55 | |
finding further success as | 0:09:55 | 0:09:58 | |
a respected and sought-after artist, | 0:09:58 | 0:09:59 | |
and has also diversified | 0:09:59 | 0:10:01 | |
into the moving image. | 0:10:01 | 0:10:02 | |
Are you a picture book writer-illustrator, | 0:10:03 | 0:10:05 | |
are you a painter, are you a film maker? | 0:10:05 | 0:10:08 | |
I'm all of them. I'm all of the above. | 0:10:08 | 0:10:10 | |
I think that whenever I was in art college here, | 0:10:10 | 0:10:14 | |
that was something that was occurring to people - | 0:10:14 | 0:10:16 | |
the boundaries between the various disciplines were becoming fuzzier. | 0:10:16 | 0:10:21 | |
There's a lot more crossover now than ever before. | 0:10:21 | 0:10:23 | |
I suppose I'm a conceptual artist and a storyteller. | 0:10:23 | 0:10:26 | |
The medium takes second place to the idea. | 0:10:26 | 0:10:29 | |
-The concept is king, so to speak. -The mind is still curious. -Yeah. | 0:10:29 | 0:10:33 | |
Oliver Jeffers, it's been a pleasure. Thank you so much. | 0:10:33 | 0:10:36 | |
Thank you, Marie-Louise. | 0:10:36 | 0:10:37 | |
The South Eastern Regional College, or SERC as it's known, | 0:10:45 | 0:10:50 | |
has a vibrant performing arts and music department | 0:10:50 | 0:10:52 | |
on its Bangor campus. | 0:10:52 | 0:10:54 | |
It marries together the two strong traditions in Northern Ireland | 0:10:54 | 0:10:57 | |
of theatre and music under the one roof. | 0:10:57 | 0:11:00 | |
We went to find out more. | 0:11:00 | 0:11:01 | |
The SERC Bangor campus is a large site | 0:11:07 | 0:11:09 | |
offering a diverse range of courses from hairdressing to horticulture | 0:11:09 | 0:11:13 | |
and carpentry to computer aided design. | 0:11:13 | 0:11:15 | |
The performing arts courses began around 11 years ago | 0:11:15 | 0:11:18 | |
with just a few students initially, | 0:11:18 | 0:11:20 | |
but now attracts students from all over the country. | 0:11:20 | 0:11:24 | |
Take a few seconds to think about your positioning. | 0:11:24 | 0:11:27 | |
The performing arts and music department at SERC, Bangor campus | 0:11:30 | 0:11:34 | |
is a thriving hub of creativity. | 0:11:34 | 0:11:36 | |
On any day of the week, | 0:11:36 | 0:11:38 | |
you will see performances across a number of different styles. | 0:11:38 | 0:11:41 | |
'If you come here to study, you will study a wide range of subjects. | 0:11:44 | 0:11:48 | |
'It could be popular entertainment, | 0:11:48 | 0:11:50 | |
'where we look at things like stand-up comedy' | 0:11:50 | 0:11:52 | |
and sketch comedy. | 0:11:52 | 0:11:53 | |
It could be classical theatre, where we look at Shakespeare | 0:11:53 | 0:11:57 | |
and Greek Tragedy. | 0:11:57 | 0:11:58 | |
It could be contemporary theatre. | 0:11:58 | 0:12:00 | |
'It could be singing, dancing.' | 0:12:00 | 0:12:02 | |
One area that we do cover, which is quite important, is production arts. | 0:12:02 | 0:12:06 | |
We do deliver units in lighting and sound. | 0:12:06 | 0:12:09 | |
Our students do gain experience in technical theatre. | 0:12:09 | 0:12:12 | |
In what way dissatisfied you? | 0:12:12 | 0:12:14 | |
Do you think that you would be a little bit more forceful | 0:12:14 | 0:12:18 | |
with her or are you intending to be gentle with her? | 0:12:18 | 0:12:22 | |
Well, in the courtroom, she hasn't actually... | 0:12:22 | 0:12:24 | |
'One of the modules that I deliver this year is naturalistic acting. | 0:12:24 | 0:12:27 | |
'It's about delivering the students the skills to act | 0:12:27 | 0:12:32 | |
'in a believable and truthful way.' | 0:12:32 | 0:12:34 | |
Mary, this is a black art to change your shape. | 0:12:34 | 0:12:37 | |
'We use the works of Stanislavski,' | 0:12:38 | 0:12:40 | |
often known as the Godfather of modern theatre. | 0:12:40 | 0:12:42 | |
'So I deliver weekly workshops dedicated to the skills | 0:12:42 | 0:12:45 | |
'of the Stanislavski system.' | 0:12:45 | 0:12:48 | |
Those skills are then employed into a large-scale performance | 0:12:48 | 0:12:52 | |
later on in the academic year. | 0:12:52 | 0:12:54 | |
SCREAMING | 0:12:54 | 0:12:55 | |
It's not easy to get on to our programmes. We do have waiting lists. | 0:12:55 | 0:12:59 | |
However, if you do gain a place at one of our programmes | 0:12:59 | 0:13:02 | |
here at the college, you're guaranteed to have | 0:13:02 | 0:13:05 | |
a vocational qualification at the end of it. | 0:13:05 | 0:13:07 | |
92% of our students go into industry or higher education, which is | 0:13:09 | 0:13:13 | |
a great success rate. | 0:13:13 | 0:13:14 | |
In the past, we've had students who diversified from the areas | 0:13:14 | 0:13:17 | |
of performing arts and music and gained employment in other areas. | 0:13:17 | 0:13:21 | |
Just all of you remember - lines, lines, lines. | 0:13:21 | 0:13:24 | |
'So it's not a strict pathway to just those subjects, | 0:13:24 | 0:13:27 | |
'because the skills that you will gain when you're with us | 0:13:27 | 0:13:30 | |
'will see you through any number of professions.' | 0:13:30 | 0:13:32 | |
The music and music technology courses launched in the early '90s, | 0:13:36 | 0:13:40 | |
and have been attended by members of Snow Patrol | 0:13:40 | 0:13:42 | |
and INXS frontman and solo artist Ciaran Gribbin. | 0:13:42 | 0:13:46 | |
One of this year's graduating music technology students | 0:13:46 | 0:13:49 | |
is George Muldrew. | 0:13:49 | 0:13:51 | |
'The reason I came on to the course was to get better at recording' | 0:13:51 | 0:13:55 | |
and sound and live engineering - | 0:13:55 | 0:13:57 | |
more specific skills in how to mic up drums, guitars, bass guitars, | 0:13:57 | 0:14:03 | |
vocals, all sorts of instruments which I had no idea about before. | 0:14:03 | 0:14:08 | |
I learnt about the physics of sound, which is very important. | 0:14:08 | 0:14:10 | |
EQ and compression, and how to use those creatively | 0:14:10 | 0:14:13 | |
and make a mix really sing. | 0:14:13 | 0:14:15 | |
What do you think, guys? | 0:14:17 | 0:14:18 | |
Sounded good. It's coming through really nicely. | 0:14:18 | 0:14:21 | |
Despite also being a performer in numerous bands, | 0:14:23 | 0:14:26 | |
the course has inspired George to seek a music career off the stage. | 0:14:26 | 0:14:30 | |
I plan to move over to Glasgow. | 0:14:38 | 0:14:40 | |
I'm seeking the opportunity to go and work in a top recording studio. | 0:14:40 | 0:14:44 | |
I've got a nice production portfolio, which I want to pass on | 0:14:44 | 0:14:47 | |
to these big studios, and hopefully get to the top. | 0:14:47 | 0:14:49 | |
An important aspect of the course is music composition | 0:14:53 | 0:14:56 | |
and sound design for film. | 0:14:56 | 0:14:58 | |
I think for a production student, actually, it's very good. | 0:14:58 | 0:15:01 | |
When you look at this first page, | 0:15:01 | 0:15:03 | |
you've got a lot of whole note movement, | 0:15:03 | 0:15:04 | |
whereas when we get over here, the rhythm is much more diverse. | 0:15:04 | 0:15:08 | |
'It's an interesting unit that allows the students to write a score | 0:15:12 | 0:15:17 | |
'to a given piece of film.' | 0:15:17 | 0:15:20 | |
Then we bring in a professional group | 0:15:20 | 0:15:21 | |
and we record the piece of music. | 0:15:21 | 0:15:23 | |
'They also do the sound design for it as well.' | 0:15:23 | 0:15:26 | |
'My role is to obviously address a lot of the technical | 0:15:29 | 0:15:32 | |
'aspects of making sure they can group notes properly, | 0:15:32 | 0:15:35 | |
'that they can express what they want to express on paper.' | 0:15:35 | 0:15:40 | |
Here in this bar, for example, you've got a G-flat and a G-sharp. | 0:15:40 | 0:15:44 | |
What you'd want to do is rationalise that G-sharp as an A-flat. | 0:15:44 | 0:15:47 | |
'This is a good course for anyone wanting to be' | 0:15:47 | 0:15:50 | |
involved in the music industry. | 0:15:50 | 0:15:52 | |
The reason why I say that is | 0:15:52 | 0:15:53 | |
because there's such a strong practical element. | 0:15:53 | 0:15:57 | |
'I think that the fact that we make them | 0:15:57 | 0:15:59 | |
'do a project like the one I described in relation to the | 0:15:59 | 0:16:02 | |
'composition for film and TV,' | 0:16:02 | 0:16:04 | |
'where they're responsible for all aspects of music making - | 0:16:04 | 0:16:08 | |
'the composition, directing the band, recording the band,' | 0:16:08 | 0:16:12 | |
going out and collecting all the sound, | 0:16:12 | 0:16:14 | |
fully putting everything together - | 0:16:14 | 0:16:15 | |
that's a prime example of how hands-on the units that we | 0:16:15 | 0:16:19 | |
deliver can be. | 0:16:19 | 0:16:20 | |
With the increasing interest and uptake of the courses, | 0:16:23 | 0:16:26 | |
the college received some exciting news this year. | 0:16:26 | 0:16:29 | |
We've just been given the go-ahead for a new performing arts | 0:16:29 | 0:16:32 | |
and technology and innovation centre. | 0:16:32 | 0:16:35 | |
It's a new 12.6 million building that will give us | 0:16:35 | 0:16:38 | |
our own brand-new theatre space. We're very excited. | 0:16:38 | 0:16:42 | |
The students are going to benefit greatly from this new facility, | 0:16:42 | 0:16:45 | |
where the department will go from strength to strength. | 0:16:45 | 0:16:48 | |
Last year, we met a rising star in the world of illustration, | 0:16:59 | 0:17:03 | |
somebody who could give Oliver Jeffers a run for his money. | 0:17:03 | 0:17:06 | |
Ashling Lindsay had just been shortlisted | 0:17:06 | 0:17:09 | |
for the Oscars of illustration. | 0:17:09 | 0:17:11 | |
This year, she's been shortlisted for a second time. | 0:17:11 | 0:17:14 | |
The Arts Show went along to find out what a difference a year can make. | 0:17:14 | 0:17:18 | |
A few months after I graduated, | 0:17:21 | 0:17:23 | |
I started working in Black North on a project called Finn In The Forest. | 0:17:23 | 0:17:26 | |
I was brought on to do the concept work and some illustrations - | 0:17:28 | 0:17:30 | |
generating ideas, character development | 0:17:30 | 0:17:33 | |
and storyline development as well. | 0:17:33 | 0:17:35 | |
Finn In The Forest is a one-hour broadcast special, | 0:17:38 | 0:17:40 | |
and it's also an interactive storybook. | 0:17:40 | 0:17:42 | |
It's a story based around Finn and Nora, his little sister. | 0:17:42 | 0:17:46 | |
They're dropped off by their parents at a wake. | 0:17:46 | 0:17:48 | |
They don't realise it's a wake and they're pushed | 0:17:48 | 0:17:51 | |
to explore their environment by a cat that leads Nora astray. | 0:17:51 | 0:17:54 | |
Finn has to follow Nora to look after her. | 0:17:54 | 0:17:56 | |
I think it's important to come up with your own stuff as well, | 0:17:58 | 0:18:01 | |
just to make sure that you've got more than one thing | 0:18:01 | 0:18:03 | |
going on all the time. | 0:18:03 | 0:18:05 | |
I entered some of my personal work | 0:18:07 | 0:18:08 | |
that I've been working on from home | 0:18:08 | 0:18:10 | |
into the AOI Illustration awards this year. | 0:18:10 | 0:18:13 | |
It was a few illustrations that I'd done | 0:18:13 | 0:18:15 | |
for the book by Joseph Conrad called The Heart Of Darkness. | 0:18:15 | 0:18:18 | |
I got shortlisted in the books category for new talent, | 0:18:18 | 0:18:20 | |
so I'm really, really pleased with that. | 0:18:20 | 0:18:22 | |
Last year I got a load of enquiry e-mails | 0:18:24 | 0:18:27 | |
from loads of different people | 0:18:27 | 0:18:29 | |
asking me to do small pieces of freelance work, | 0:18:29 | 0:18:31 | |
so it really did help spread my name around. | 0:18:31 | 0:18:34 | |
It was really helpful. | 0:18:34 | 0:18:36 | |
I really love the animation stuff | 0:18:39 | 0:18:41 | |
that Julia Potts does at the minute. | 0:18:41 | 0:18:44 | |
There's an artist called Andrew Hem, | 0:18:44 | 0:18:46 | |
a painter, I love his techniques. | 0:18:46 | 0:18:48 | |
I still love the work by Oliver Jeffers. | 0:18:50 | 0:18:52 | |
He's constantly doing new things with film. | 0:18:52 | 0:18:56 | |
I really want to get into directing some of my own stuff. | 0:18:56 | 0:19:00 | |
Chris Kelly, the director of Black North, and I | 0:19:00 | 0:19:02 | |
have been working on a short animated film that we're | 0:19:02 | 0:19:05 | |
probably going to do, | 0:19:05 | 0:19:07 | |
so he's going to be the writer and producer on that | 0:19:07 | 0:19:09 | |
and I'll get a chance | 0:19:09 | 0:19:11 | |
to try out being the director and see what I think of it. | 0:19:11 | 0:19:13 | |
I'm really looking forward to doing that | 0:19:13 | 0:19:15 | |
over the next year while I'm here. | 0:19:15 | 0:19:18 | |
I can't believe that I went through university and came out | 0:19:18 | 0:19:22 | |
and got to do the job | 0:19:22 | 0:19:23 | |
that I've always wanted to do. | 0:19:23 | 0:19:25 | |
It's really, really amazing. | 0:19:26 | 0:19:27 | |
Ashling Lindsay - a name to watch. | 0:19:37 | 0:19:39 | |
Now contemporary dance is still very much an underrepresented sector | 0:19:39 | 0:19:43 | |
of the arts in Northern Ireland, with only a handful | 0:19:43 | 0:19:45 | |
of companies in existence set up here in the last decade or so. | 0:19:45 | 0:19:49 | |
In 2006, the University of Ulster at Magee | 0:19:49 | 0:19:52 | |
set up a school of creative arts, | 0:19:52 | 0:19:54 | |
with the only undergraduate dance degree on the island of Ireland. | 0:19:54 | 0:19:58 | |
MUSIC: "Take Five" by Dave Brubeck | 0:20:00 | 0:20:02 | |
This is the only dance degree programme on the whole island. | 0:20:07 | 0:20:11 | |
We very much focus on contemporary dance because we think that's | 0:20:11 | 0:20:15 | |
a useful medium for students to be able to be creative within. | 0:20:15 | 0:20:19 | |
One thing that we have on this course is a huge focus | 0:20:21 | 0:20:24 | |
both on creativity and on the actual practical, physical dancing. | 0:20:24 | 0:20:28 | |
We do give a dance class a day. | 0:20:28 | 0:20:31 | |
They then know what is this thing they're dealing with creatively - | 0:20:31 | 0:20:35 | |
this actual stuff called movement. | 0:20:35 | 0:20:37 | |
Five, six, seven, and eight. One, two, three... | 0:20:37 | 0:20:40 | |
One of this year's graduates is Melissa O'Neill, | 0:20:40 | 0:20:43 | |
a mature student and mother of three who put her career | 0:20:43 | 0:20:45 | |
as an alternative therapist on hold | 0:20:45 | 0:20:48 | |
to obtain a formal qualification in dance. | 0:20:48 | 0:20:50 | |
Learning dance was very new to me. | 0:20:52 | 0:20:54 | |
I'd only previously done it when I was young. | 0:20:54 | 0:20:58 | |
But other than that, I had no formal education in dance whatsoever. | 0:20:58 | 0:21:02 | |
My final piece of choreography that I made for the degree programme | 0:21:06 | 0:21:10 | |
is called Conversations. It's set in a cafe space. | 0:21:10 | 0:21:13 | |
It seemed to be absolutely perfect | 0:21:13 | 0:21:16 | |
because there was people coming in, | 0:21:16 | 0:21:17 | |
sitting down beside other performers, | 0:21:17 | 0:21:19 | |
they didn't know that it was a performance | 0:21:19 | 0:21:21 | |
until maybe they'd seen people getting up on to the floor | 0:21:21 | 0:21:25 | |
and starting to move around the space, but they were intrigued. | 0:21:25 | 0:21:29 | |
It's based upon relationships that woman would have | 0:21:29 | 0:21:32 | |
with each other and themselves. | 0:21:32 | 0:21:35 | |
In it is a basis of contemporary dance but also physical theatre. | 0:21:35 | 0:21:40 | |
When I saw it in the cafe, I was hugely impressed. | 0:21:40 | 0:21:44 | |
The piece seemed to evolve in front of our eyes. | 0:21:44 | 0:21:48 | |
Her various dancers come in at different points, | 0:21:48 | 0:21:51 | |
and...just as somebody would come into a cafe. | 0:21:51 | 0:21:53 | |
They'd go and get their coffee and they'd come to a table. | 0:21:53 | 0:21:56 | |
I have to say, I love that - | 0:21:56 | 0:21:58 | |
when you're not quite sure what are the borders of a piece, | 0:21:58 | 0:22:01 | |
you're not quite sure when a piece starts and finishes, | 0:22:01 | 0:22:05 | |
you're not quite sure who's in the audience, | 0:22:05 | 0:22:08 | |
because it's always calling into question | 0:22:08 | 0:22:11 | |
what is the relationship between the piece and its audience? | 0:22:11 | 0:22:15 | |
Yes, it's interesting. It's fun, it's exciting. | 0:22:16 | 0:22:19 | |
You just never know how it's going to turn out in the end. | 0:22:19 | 0:22:22 | |
Go for the leg, yeah. | 0:22:22 | 0:22:23 | |
Melissa hopes to incorporate movement as a form of expression | 0:22:25 | 0:22:28 | |
into her therapeutic work with individuals and community groups. | 0:22:28 | 0:22:33 | |
The expression does play a big part. | 0:22:33 | 0:22:35 | |
It's allowing that expression for others. | 0:22:35 | 0:22:38 | |
Then I'd like to help them express and allow them that freedom. | 0:22:38 | 0:22:44 | |
Many of our graduates have actually gone on to be professional dancers | 0:22:45 | 0:22:50 | |
both in Northern Ireland but also actually in Europe, | 0:22:50 | 0:22:54 | |
in Australia, in North America. | 0:22:54 | 0:22:56 | |
The dance scene in Northern Ireland is thriving, | 0:23:01 | 0:23:04 | |
but it's thriving in pockets | 0:23:04 | 0:23:06 | |
so that we have extremely strong | 0:23:06 | 0:23:09 | |
and innovative companies | 0:23:09 | 0:23:11 | |
working in Belfast, in Derry. | 0:23:11 | 0:23:13 | |
They're producing international standard work. | 0:23:13 | 0:23:16 | |
What we have to work on very hard now, I think, | 0:23:18 | 0:23:20 | |
is trying to build an audience - | 0:23:20 | 0:23:23 | |
that kind of participation of people in art | 0:23:23 | 0:23:27 | |
rather than being expected to be passive observers | 0:23:27 | 0:23:30 | |
is very likely the way forward. | 0:23:30 | 0:23:32 | |
The buzz here at the art college is really quite incredible | 0:23:41 | 0:23:45 | |
with hundreds of people streaming through the doors | 0:23:45 | 0:23:47 | |
to look at new talent and hopefully buy some new work as well. | 0:23:47 | 0:23:52 | |
Ceramics has to be one of my favourite parts of the show - | 0:23:52 | 0:23:55 | |
incredible tour de force of some of the work of the ceramic students | 0:23:55 | 0:23:59 | |
here at the art college. | 0:23:59 | 0:24:01 | |
Rhiannon Ewing-James, this is your work here. | 0:24:01 | 0:24:04 | |
Quite minimalist when you look at it at first. What are you trying to do? | 0:24:04 | 0:24:09 | |
It might look minimal but it's got very many layers. It started off... | 0:24:09 | 0:24:13 | |
I visited Stoke-on-Trent, an abandoned ceramic factory. | 0:24:13 | 0:24:17 | |
It got me thinking. | 0:24:17 | 0:24:18 | |
These people have lost their jobs and it's not necessarily the money | 0:24:18 | 0:24:21 | |
that it's important, it's this loss of something else - | 0:24:21 | 0:24:24 | |
this loss of purpose and loss of pride within a community. | 0:24:24 | 0:24:27 | |
The objects that I have created all suggest use, but you can't use them. | 0:24:27 | 0:24:32 | |
The materials play a very important role in explaining the work. | 0:24:33 | 0:24:36 | |
Because it's not just ceramics that are in here - plastic. | 0:24:36 | 0:24:40 | |
-Yeah. -That's not something that you would associate with | 0:24:40 | 0:24:42 | |
the craft of ceramics, is it? | 0:24:42 | 0:24:44 | |
Not at all. It completely opposes it. | 0:24:44 | 0:24:47 | |
The combination of ceramics and plastic is very important. | 0:24:47 | 0:24:50 | |
Plastic is something very bright and colourful. | 0:24:50 | 0:24:53 | |
It craves attention, | 0:24:53 | 0:24:54 | |
but it's very empty in comparison to the tactile ceramic surface. | 0:24:54 | 0:24:58 | |
It's something that I wanted to play with. | 0:24:58 | 0:25:01 | |
Plastic being a very mass-produced material, cheap for manufacture, | 0:25:01 | 0:25:05 | |
in contrast to something we have a familiar relationship with. | 0:25:05 | 0:25:08 | |
Also that then reflects the loss - | 0:25:08 | 0:25:10 | |
the loss of that industrial architecture and heritage, | 0:25:10 | 0:25:13 | |
which is probably very relevant to here as well, Belfast. | 0:25:13 | 0:25:17 | |
It brings it very close to home, | 0:25:17 | 0:25:18 | |
especially with the shipyard lands down at the Docklands, | 0:25:18 | 0:25:21 | |
which this piece here, my bollard, has been inspired by. | 0:25:21 | 0:25:26 | |
So what's next for you after this degree show ends | 0:25:26 | 0:25:29 | |
and you take everything away, where do you go? | 0:25:29 | 0:25:32 | |
I have very fortunately got a job in Denmark. | 0:25:32 | 0:25:35 | |
I'm going to work at the International Ceramic Research Centre | 0:25:35 | 0:25:39 | |
called Guldagergaard. | 0:25:39 | 0:25:42 | |
There I will be a studio technician working with the different | 0:25:42 | 0:25:45 | |
artists in residence. | 0:25:45 | 0:25:46 | |
Then I'll move on to programmes coordinator, | 0:25:46 | 0:25:48 | |
organising different events and exhibitions for the research centre. | 0:25:48 | 0:25:51 | |
-How's your Danish? -Not great. | 0:25:51 | 0:25:55 | |
But it's something | 0:25:55 | 0:25:56 | |
I can pick up and learn. | 0:25:56 | 0:25:57 | |
We'll come back and see you in a couple of years' time and see | 0:25:57 | 0:25:59 | |
whether that's worked out. | 0:25:59 | 0:26:01 | |
Rhiannon Ewing-James, thank you so much. | 0:26:01 | 0:26:03 | |
Continued success. | 0:26:03 | 0:26:04 | |
So what happens after you get your degree? | 0:26:12 | 0:26:15 | |
Many graduates find that they need much more | 0:26:15 | 0:26:17 | |
than just a good portfolio. | 0:26:17 | 0:26:19 | |
Talent is everything, but so is money. | 0:26:19 | 0:26:22 | |
Well, one local person, a woman called Rosy James, | 0:26:22 | 0:26:25 | |
a graduate of this very art college, | 0:26:25 | 0:26:27 | |
left half a million pounds in her will | 0:26:27 | 0:26:30 | |
to establish a bursary in her name. | 0:26:30 | 0:26:32 | |
Suzanne Lyle from the Arts Council, Rosy James sounds like | 0:26:32 | 0:26:36 | |
she was an incredible character - quite colourful and outspoken. | 0:26:36 | 0:26:39 | |
She was hugely colourful. | 0:26:39 | 0:26:41 | |
She had come into the Arts Council to talk about the award, | 0:26:41 | 0:26:43 | |
to ask how it might be possible. | 0:26:43 | 0:26:45 | |
She signed the visitor's book as "Moi," | 0:26:45 | 0:26:47 | |
rather than anything else. | 0:26:47 | 0:26:49 | |
From the get go, yeah. | 0:26:49 | 0:26:51 | |
Who is this aimed at? Who is this bursary for, specifically? | 0:26:51 | 0:26:53 | |
It's aimed at craft makers, designer makers and craft. | 0:26:53 | 0:26:56 | |
So it could be ceramicists, silversmiths, | 0:26:56 | 0:26:58 | |
anybody within that broad discipline. | 0:26:58 | 0:27:00 | |
You have the first recipient beside you. | 0:27:00 | 0:27:02 | |
We can exclusively reveal on The Arts Show. | 0:27:02 | 0:27:05 | |
Absolutely, Stuart Cairns is the first recipient. | 0:27:05 | 0:27:08 | |
-Congratulations, Stuart. -Thanks very much. | 0:27:08 | 0:27:10 | |
-You work in what area? -I work in silversmithing. | 0:27:10 | 0:27:13 | |
I produce objects based on utensils, vessels, domestic type forms. | 0:27:13 | 0:27:19 | |
I do it in a variety of materials, so not just silver, | 0:27:19 | 0:27:21 | |
a whole variety of things. | 0:27:21 | 0:27:23 | |
How much is this bursary worth, £15,000? | 0:27:23 | 0:27:26 | |
-15,000, yeah. -So what will that mean for your career? | 0:27:26 | 0:27:29 | |
It's basically a turbo boost to your career. | 0:27:29 | 0:27:33 | |
It means I can take more time to research to develop a new | 0:27:33 | 0:27:36 | |
body of work over the coming year | 0:27:36 | 0:27:38 | |
and take advantage of some of the international opportunities | 0:27:38 | 0:27:41 | |
that have started to come my way for exhibitions. | 0:27:41 | 0:27:44 | |
So I'm invited to exhibit in Sweden next year, Amsterdam and Germany. | 0:27:44 | 0:27:50 | |
So this will really, really help me | 0:27:50 | 0:27:52 | |
to produce the work of the right standard. | 0:27:52 | 0:27:54 | |
Hopefully I can push on and take full advantage of the opportunities. | 0:27:54 | 0:27:57 | |
-God bless Rosy James, then. -Indeed, yeah. | 0:27:57 | 0:27:59 | |
We wish you continued success. Congratulations. Thank you, both. | 0:27:59 | 0:28:03 | |
-Thank you. -Cheers. Thanks. | 0:28:03 | 0:28:05 | |
Well, that's it from The Arts Show for this month. | 0:28:21 | 0:28:24 | |
You can join me on Twitter now to continue the conversation. | 0:28:24 | 0:28:28 | |
Of course, you can keep up to date with all arts and culture | 0:28:28 | 0:28:32 | |
on Arts Extra, weeknights at 6.30 on BBC Radio Ulster. | 0:28:32 | 0:28:37 | |
Also check out our own website for some great content and archive. | 0:28:37 | 0:28:42 | |
We'll be back in September. Until then, have a great summer. | 0:28:42 | 0:28:45 | |
Good night. | 0:28:45 | 0:28:46 |