Canford has a thriving Art department and the art school is a place where pupils can react creatively to the world around them. We encourage individuals to find areas of the subject that interest them and to work with confidence and ambition, through a wide range of exciting projects, workshops, lectures, exhibitions and trips. Pupils and staff are encouraged to produce creative, diverse and personal work that challenges expectations of what can be produced in a school environment. The results are work that is of the highest quality.
Students work within the broad boundaries of Fine Art in media such as painting, drawing, printmaking, construction, casting, glass, film, textiles, photography and installation work. Many will cross over between a number of these disciplines.
The department runs an exciting programme where visiting contemporary artists discuss their work and run practical workshops. These engaging events promote diverse and sophisticated responses.
The studios are open for all pupils well beyond the working day including a majority of weekends. Exhibitions and trips ensure pupils are aware of the subject beyond Canford and a large number choose to continue on to high profile Universities to study fine art, design, history of art and architecture. Study visits take place in term time and during the holidays and include New York, Berlin and Cornwall.
Move to Pre-U
Canford has chosen to move from the A level Art examination to the Cambridge Pre-U course, believing it to be more linear and more conducive to producing a truer reflection of artistic ability. The style of the course is felt to be a strong foundation for Art college, with pupils able to produce more ambitious porfolios and work on a larger scale. Pre-U offers a higher grading than A level, providing a further challenge for very able students.
Duncan Wright, Head of ArtBA (Central St Martins), MA (Royal College of Art), PGCE (Exeter)
My Paintings are composite constructions - composed from studies, photographs and found images and then painted in an attempt to homogenise the picture plane with a cohesive narrative. My current series “End of the Season”, refers to an atmosphere loaded with the character of inertia; the antonym of anticipation.
Dylan LloydBA (Falmouth School of Art), PGCE (Wales)
A feeling of nostalgia and yearning for the simple life have become a major trend in recent years. Not only in the arts and crafts in our daily lives, from baking to keeping allotments and caravanning. My work not only responds to this but comments on the way me and my family have embraced this trend. Work is produced for galleries settings as well as domestic and vintage caravan interiors.
Jay JonesBA (Falmouth School of Art), PGCE (Roehampton)
I use a variety of sources for my work including characters borrowed from 'old master paintings' and flowers and fauna taken from ladybird books on nature. I create new worlds for these characters to exist. By using the idyllic rural imagery of these works I hope to evoke memory and nostalgia. These borrowed images are cut out and re assembled into collages as a way to create an initial composition to respond to in paint. My paintings are a slow, explorative process. Some areas are loose and fluid, some have fine hatching and circles of colour that afford a playful approach to colour and pattern.
Andy KirkbyBA (hons) Fine Art, Kingston University 1981-84 MA, sculpture, Royal College of Art 1984-87
Fragments of recognition - the work to date has largely been inspired by personal mythologies. Visually reworking fragmented memories from childhood and later life (sculptural Chinese whispers). I have never settled into one style or material, preferring to work with a range of media and techniques. The concepts of where art can be found have always been as important as the work itself.
Ruth FullerBA (Hons) The Glasgow School of Art; GTP The Institute of Education, London
My work is often figurative. It is informed by the traditions of fine art photography and drawing/painting and often shows an overlapping of interest in these media. A recent series ‘The Brutal Intimacy of Family Life’ developed from photographic work based around portraits of family members. In some images I have worked over the photograph with drawings, fictionalising the work in order to explore drawing elements as representations of memories and childlike escapism.
David CromptonArt Technician
My painting comes from detailed observation of the natural world - flowers, birds, insects and their habitats. The flotsam of the woodland, field and seashore - shells, leaves, feathers, stones and pottery shards, also find their way into my work - and are interpreted and painted in both graphite and watercolour. My latest work uses the theme of 'pairs' found in nature, with an unusual interpretation in both medium and subject matter. My work is both collected and published.