Experimenting with text and poetry: A creative thought process, Part Two.

Sketchbook work has always been a large part of my creative process, it’s a visual aid I use for ideas and inspiration.  A lot of the work never sees the light of day, but each piece lends itself to my journey, and ultimately to the finished piece of work.  I tend to start a project with too many ideas, and I find that giving each idea a small outlet helps me to separate the weaker ones, and oftentimes brings unexpected outcomes.

I was told by a tutor recently that there is a performative element to my work, which has been consistent since my first year on the fine art degree.  This is something that has happened organically and has never been an outwardly conscious decision from day one when creating a piece.  The journey from idea, to sketchbook, to end product is one of research and reflection, but always centres around myself.  That is not to say I am self centred, but I find that my work takes on more meaning if it consists of my own experiences and feelings, isn’t that the crux of art?  In order to understand ones own emotions and convey them to an audience and hope that something will resonate with another human being going through the same life experiences.  So I usually end up being part of my work, whether it be my voice, my words or in the physical sense.

Experimenting with Dadaism and poetry

I experimented with a lot of collage during the second year, manipulating photographs and juxtaposing images looking at the works of John Stezaker, who’s work I had the pleasure to see first hand at the Whitworth art gallery in Manchester.  Because I knew I wanted to incorporate poetry into this collection I started reading about Dadaism.  The art of this movement spanned literary and sound media, including collage, poetry, cut up writing and sculpture.  Dadaist artists expressed their discontent towards violence, war and nationalism.  It was a particularly political movement that focussed on the artists feelings towards the times they were living in.

Selected works by Kurt Schwitters 1887-1948

This movement resonated with me after reading many articles about the demolition of the Thwaites Tower which had been a long standing landmark for the people of Blackburn, and there was definitely an air of discontent and anger from the general public.  I am a member of a social media group ‘Blackburn now and then’ on facebook, and the general consensus was one of shock and loss, and brought about many conversations between strangers about their own personal memories evoked by this news.  I began to experiment by gathering all the articles I could find on-line from local newspaper coverage and printed them out with the idea of taking a Dadaist approach in my sketchbook.  I used the old tea bag method to age and colour the bright printer paper for the historical feel, and used only the words in the articles to create a piece of poetry amongst the headlines.  This idea had been brought about by the blackout poetry I had originally experimented with using old books and markers, which can be found in ‘A creative process part one’ blog.


‘Now it’s a shadow of Blackburn’s heritage,

Thwaites tower, Iconic as the fabric of the town,

The aluminium clad structure, part of the heart of Blackburn,

A landmark to it’s community,

But regeneration brought demolition to the towns skyline,

Brick by brick, from the top,

Sadly now, the time for change is growing,

Bringing down the historic brewery, in a sad, nostalgic moment.’


Experimenting with photography and poetry

The demolition of the tower brought people together under an umbrella of reminiscence and indeed sparked my own childhood memories.  I began to make regular visits to the site to take photographs of the process after being inspired by a trip to the Museum of modern art in New York where I had seen a series of photographic work by German conceptual artists, Bernd and Hilla Becher.  The Becher’s focussed their work on disappearing industrial architecture around Europe and North America, each piece holding a documentary style approach, and taken in black and white.  Their work was eye catching, exhibited in sets of typologies, grouping together several photographs of the same type of structure.  The series of work at the MOMA consisted of cooling towers entitled ‘Anonymous sculpture’ (1970) and features 30 images curated purposefully in a uniformed formation.


The Becher’s focussed many years of work and travel to create an array of heterogeneous building types all classified by reference to function.  It was a nod to the increasingly neglected relics of the industrial era, overlooked beauty, and the relationship between form and function.  I was struck by the underlying sense of loss that emanates from the photographs, a lost world of architecture and history now erased and how it suited the sense of direction I wanted to take my own narrative in.  I decided to use this inspiration when thinking about the images I had collected over months of demolition of Thwaites tower, and bring them all together in a grid formation.  Each photograph holding a line of poetry with thoughts about my father to evoke the sense of loss I felt upon each visit to the tower during its demolition process.  My father passed away many years ago now, but he worked as a brewer for Thwaites throughout my childhood and early adolescent years and I wanted to portray a sense of melancholic reminiscence.

The photographs had started out as colour pictures, all taken with an iPhone and manipulated with a photographic application, removing the colour and muting the sharpness at different levels, to enhance the overall mood I was trying to create alongside the poetry.  During a recent critique, it was brought to my attention that not all of the images fit to the photograph size, taking away from the feeling of uniformity which I wanted to display, so if I was to decide to include these series of works in my final submission, I would need to think about how to restructure the images to create this.



Using Critique For Professional Development As An Artist.

During the past 3 years as a fine art degree student, I have learned that one of the most important tools for professional growth as an artist is the critique.  Whether it be on a one to one basis with a tutor, or a large focus group.  The feedback given, either positive or negative, can sculpt creative ideas, or totally change the train of ones original thought process.

I can honestly say that no matter how confident you feel about your ideas or the direction of your work, it can be quite a nerve wracking experience.  But it is important to remember that this is not a judgemental exercise, merely a chance to articulate the thoughts behind your art work, and gain an insight into how to improve.  It is easy to lose perspective of your own work as you submerge yourself into a project, and getting that outside context gives you a route to see your vision with clearer eyes.

A well planned and thought out presentation gives the audience critiquing a greater insight into your ideas.  They may not personally understand the work on face value, so it is important to guide them through the thought process and research behind your ideas.  A critique should be purely objective and address the central question if the piece is achieving what the artist set out to create.  It is a process that aims to improve the final version of your art by taking the feedback and reflecting upon it in order to make a good idea into great finished piece, or take a weak idea and improve upon it.

During the second year of the degree, as part of my own personal experimental research, I organised a silent critique and invited students from across the 3 year groups.  I showed them a video project I had been working on and explained beforehand that I would be a silent observer during their discussion at the end of the presentation.  I found this extremely beneficial to my practice and my work evolved because of this.  Looking back, I can say without a doubt that this was a turning point for me, I was no longer just an art student, but an aspiring artist.

Original video piece, Reflections of you, used for silent critique.

I was heavily into the research process of my project when group critique approached for the final degree show, and had so many ideas that I really wasn’t sure which direction I was taking my work in.  I had several projects in mind, and had decided upon an installation piece incorporating the bricks I had collected from the demolished Thwaites Brewery tower.  In order to give my peers and tutors a glimpse of  my ideas, I created a ‘mood wall’ of sorts, which incorporated some of the research and the photographs I had manipulated and added poetry to.

I made a maquette of the brick instillation where I explained how I was going to project an image I had collected of the tower before demolition by placing a clear acetate with a traced outline of the building.  This model was used as a visual representation so that the group could envision the final piece and how this would collectively become part of my group of work.  I found the critique insightful and extremely useful, it enabled me to separate the weaker ideas and focus on the stronger points of my work and how I could evolve these into showcase worthy pieces.

It was also a useful exercise to be part of the critique audience and view my peers as they presented their ideas and artwork to the group.  It was interesting to do more than just look at the art, but understand the research and ambitions behind it and to give my own constructive feedback to them in order to bring out their best work, and make this, our final showcase one to be remembered.




The potential to create art during self isolation: Collaging

During this period of solitude and uncertainty, it is important, especially as an art student, to maintain a creative pathway in order to grow professionally.  Now is the best time to reflect on ideas and research, and maybe even try new techniques or ideas that may, or may not have been part of our original plan.  Life is constantly changing, and art is constantly evolving, mirroring the world around us, and what we perceive as artists to be able to understand and grow with this constant shift.

Artist, and Blackburn College teacher Sarah Hardacre has been doing weekly workshops entitled ‘Collage from my kitchen’ via the Zoom video app.  Where foundation and degree students can gain insight and inspiration from her work during this period of self isolation.  It is a way to stay connected, with tutors, with peers and with art and creativity itself.


Hardacre’s work features images of concrete tower blocks, overlaid with pictures of naked, or semi naked women taken from soft pornography publications.  She describes the work as brutalist architecture against artistic female nudes who’s bodies have not been enhanced by surgery.   The tutorial centred around Sarah’s thought process as she chooses her images, and the time and preparation this takes.  The precision used to fine handle the cutting blade and fuse the two images together creating a whole new political, and feminist narrative.

(Images above taken from the on-line tutorial and posted with permission of Sarah Hardacre.)

Getting Creative

I was left feeling extremely inspired to get creative with the limited materials I had to hand at home which included an old celebrity magazine, a pair of scissors and a box of mixed beermats I had purchased a while ago but hadn’t found a use for.  I had experimented a little with collage during the first year of the degree and focussed my project upon body image.  It was interesting to revisit and reflect upon these original ideas, and to take this forward using the motivation I had from Sarah’s tutorial.

(Below, Images from first year degree, experimental sketchbook collages)

The images above had been sourced from the internet and printed before being placed and eventually stuck down with glue in my sketchbook.  As I have no printer at home, I had to use the materials mentioned previously, which in a creative way, was a good thing.  It left little room for procrastination and encouraged me to be as creative as I wanted with what I had.  After finding appropriate images in the magazine, I began to experiment with the various beermats I had, overlaying and observing as Sarah had done in her tutorial.

The beermats were appropriate, and fit in well with the on-going Thwaites Brewery project I am working on.  I managed to find an image I had printed out previously of the tower before demolition that I had digitally altered at the start of the project.  The collage tutorial inspired me to incorporate the mats and the image into my work and to add them to my experimental research.


I took photographs of each collage I created without sticking the images down to enable me to keep experimenting.  The photographs were taken on an iPhone 6, and I then experimented further by using the Layout digital application which went on to create new images which also became pieces of collage art.  It was an enjoyable creative process, with an unexpected outcome.


There is a massive potential to create art at home during this time, with the limited materials and technology we have to hand.  From the tutorial I have been able to go away, reflect and create a series of art work. Experimenting with colour, shape, form and repetition, I can take this research and enhance the piece I am working on for the third year degree show.

Useful Links.

To discover the innovative collage and screen print art of sarah Hardacre please follow the links below





The Potential Of A Live Stream As A Video For Professional Practice.

The Coronavirus has indeed caused disruptions to regular, normal daily life.  As degree students in the last quarter of the course, we have all had to adapt to on-line learning via video conferencing with tutors and peers.  I am thankful to be living in the modern age of technology.  It enables us to connect and share, and to continue down a creative path, forcing us to open the mind to other possibilities of practice, and to relate in ways that challenge us as artists.

Self isolation gives us an opportunity to reflect and re-evaluate, to find time and rediscover.  It is up to us as individualists, artists and creators to use this time to embrace the challenges of this unknown reality we have been forced into.  We have continued to meet the criteria of the professional practice module of the degree through weekly scheduled meetings and 1-1 tutorials. Via video app link, we can discuss our continued practice and how we can adapt our current work and research to fit this new climate.

On a personal level I have found this new way of working to be an exciting contemporary challenge.  The potential we still have as a group to discuss and digest the unfamiliar avenues we find ourselves on leaves me invigorated and motivated to respond creatively following our weekly conversations.  Tutorials arranged with guest speakers has become a possibility through the use of video technology.  Research has expanded to incorporate fresh ideas about they ways we can showcase art, with the studio becoming our homes, the gallery becoming our living rooms and gardens.  We can virtually visit art galleries in Seoul, Paris, New York, London, all from the comfort of the arm chair with a cup of tea in hand.

Live Stream With The Making Rooms

The Festival of making has understandably been postponed until later in the year when normal life, or at least a new normality has resumed.  This has left the staff at the Making rooms in Blackburn with time on their hands.  We can take inspiration from the way the staff there have embraced this challenge.  They are currently making and donating visor shields to the NHS in this ongoing fight against Covid19.  As a nurse, who is still working during this pandemic, this is a massively valuable use of time and resources and I was indeed interested to see the live making process hosted on Instagram on 8th April 2020.


Tom Macphereson-Pope explained how he heard about the masks through his involvement in a European marketing group, who’s members from countries already affected earlier than the UK by the virus, were posting their own photos and video links about their efforts to help health services in their countries.  Already the potential is there to connect and learn on a global element, to come together as creators for the greater good.

Tom explained in detail how the 3D printer process worked to create the top part of the visor by the use of a plastic filament to draw a 2D shape with precise motors and  pulleys.  The clear plastic part of the visor could be made from recyclable materials such as soft drink bottles if people wanted to create makeshift versions of the pouch.  Through making and problem solving he had discovered that laminating pouches made a good  material that remained durable and easy to wipe clean.

Tom engaged with the live audience as we asked questions about the making process and the materials.  I was interested to know how comfortable the plastic made from the 3D machine would be when worn for 13 hours by a nurse or Doctor during these long shifts and was assured that the materials, however sturdy would be easy to wear and that the elastic to the back made the visor suitable for head sizes.  Tom did say however, that he would wear the visor for a day to test out the comfort factor, which may also help with future design process.

As an art student thinking about professional practice, I found the live stream to not only be informative, but it was a documented account of a making process.  This type of social media technology is something we all have access to in our own homes, and in this time of self isolation it is a way to connect to a wider audience.  It was a detailed account of an idea that had evolved into a design through conversation and research, and had manifested itself into a finished product.  This was something we could discuss as a group during our on-line meetings to see how we, as emerging artists could connect and create in order to reach the desired standards of professionalism.

Reflecting back on previous work I had done for an open call for ‘The Body up north’ at Prism Gallery, I had created a video of a making process and published in on YouTube.  Using clear wax and a hollowed out mannequin bust form, I constructed a sculpture, documenting how it was made and working through by researching techniques and problem solving.  This video process enabled me to catalogue my work as experimental research practice, to reflect on and to learn from.  Looking back at the video now, it seems very raw and it was unedited.  I would undoubtedly tackle this challenge in a more professional manner with the knowledge and experience gained through the course.  I plan to video evidence a making project for an instillation piece and will be uploading it to YouTube and into an advanced studio practice blog post.


Useful Links

If you are interested in watching the making process of the visors, Tom’s video can be found at


You can discover what the team do at the making rooms at



Thankyou to Tom Macphereson-Pope for permitting the use of pictures from the live feed to be used in this blog.


Thwaites Brewery tower: Not just bricks and mortar? Part one: Research

Thinking back to my childhood, I must have been about 5 or 6 years old.  I remember my dad stepping foot over the threshold of our humble mid terraced house on Infirmary street, in Blackburn.  He’d be in his white overalls, sleeves neatly rolled up displaying his large arms that would engulf me as I ran to meet him.  He would spin me around a few times to my mothers calls of “don’t bloody drop her”.  I would breathe in the left over scent of yeast and hops that lingered in the fabric of his overalls, and if I close my eyes, even today I can still remember that smell, that warmth and that embrace.

Rare picture of my father with my mum.  (My dad didn’t like to have his photo taken), mid 1980’s

My dad started working at Thwaites in 1976, the year after I was born, and it was through the help of the brewery that my parents were able to purchase their first house on Ivy street.  I have no memories of this time, but I’m told we had a coal fire and rats!  Dad would work shifts, and I remember I didn’t like him working 2-10 as I’d be in bed when he came home, I’d miss him terribly on those weeks.  Night shifts were even worse, if my brother or I dared make too much noise and wake him as he was like an angry bear, and we’d be in for a ‘leathering’.   Don’t get me wrong, he wasn’t unkind, he was a strict man, but a loving father too, and I have to admit, my brother saw his wrath much more than I did.

Growing up I was a daddy’s girl, Sunday night’s were the best.  It was bath night, and after I’d been bathed and sorted by my mum, my dad would sit me on his knee and brush and plat my hair.  We’d watch Morcambe and Wise on the television and he’d share his Pontefract liquorices with me.  I was allowed to have an extra 10 minutes after bedtime, until I’d get told it was ‘up the wooden hills to the blanket show’.

In April 2019, demolition work began at the Thwaites brewery site on Starkie street in Blackburn.  Production of ale had ended there the previous year, and moved to the new brewery site in Mellor.  The building had remained an empty shell since falling victim to vandalism and travellers who had squatted there causing £300,000 of damage (sourced from Lancashire evening telegraph 2019).  This prompted the company and Blackburn council to make the decision to demolish the tower and surrounding buildings, to create commercial dwellings for the town centre.

Photo credit, Lancashire evening telegraph April 2019

The tower was described as an iconic landmark and had been an important part of Blackburn’s skyline for many years.  I always immediately think of the Christmas star that would be lit up at the top of Thwaites tower and could be seen throughout the town by all residents. The Christmas parties that my brother and I attended all throughout our childhood at the old Railway club, before they knocked it down to build the Wainwright bridge.  Father Christmas would bring us all a present and the one that I still remember so vividly is a Tony Heart’s pottery set that I can still recall my mum rolling her eyes and groaning at as she saw the loose plaster of Paris inside.  I even made my dad a pink ashtray from that set which took pride of place on the little table next to his armchair in the living room.

When I heard that the tower was to be demolished, like a lot of people, I was filled with an undeniable disappointment.  I understand progress in this modern world.  I’m from a more upto date generation who embraced the internet and mobile phone technology when it came.  But this tower to me meant so much more.  My dad worked there for around 16 years, and all of my childhood memories, and sulky pre teen angst resided in those bricks and mortar.  I lost my dad to heart disease in 2006, he was 63, and I was a new mum, so looking forward to him being a grandad to my daughter.

It’s amazing, how memories settle into the corners of your mind, shrouded over by daily life, until something occurs.  When I read about the impending demolition work those memories came swimming to the surface quite vividly and they were mirrored with a feeling of great sadness, loss, and a sensitivity of grief.

I started researching with my project fully established in my own mind.  My art has always, from the beginning of the degree, centred around my own experiences and emotions.  The subject of Thwaites, the demolition, the memories and the feelings that it had evoked, were all something I could embrace and turn into art.  After the massive success of the British textile biennial earlier in the year which brought many national and international visitors to the town, I felt inspired yet again to put Blackburn on the map.  This town is so rich in culture and history, an epicentre of industry and textiles, and of course the brewery that provided jobs for many hard working men from the late 60’s to present day.

The artist Jamie Holman, who I have had the privilege to be taught by at the art school created a series of work celebrating the history of radical gatherings in the old abandoned mills that used to house the rich cotton industries.  The northern working class youth of the 90’s reclaiming the abandoned spaces as their own and the music that brought these empty spaces to life in an act of defiance and resistance.  Holman’s work expanded to the history of the Pendle witches, incorporating poetry set to hypnotic trance, all brought together by large silk trade union banners, performance art and pioneer film making that enlightened me to all the great uncovered history of my own town.


(All above) Personal photographs taken from Jamie Holman’s exhibition ‘Transform and escape the dogs’ as part of the British textile biennial 2019.

With this inspiration freshly in mind, I began to make regular visits to the town centre to document the demolition process, and I would never have imagined what sadness it would bring, seeing it reduced to a pile of rubble.

This was definitely fuel to the art I seem to be drawn to, the art charged by my own emotional response to a situation.  I follow a direct pattern, in which I process and reflect upon my own thoughts and bring them into my work as a self therapy, something I did sub consciously until the realisation dawned upon me during my second year.  I began to have conversations with my mum about her memories and she suggested I contacted an old friend of my dad’s, Jeffrey Swift.

I remembered Jeff from my younger years, he had worked at Thwaites brewery up until he retired and moved to Bristol with his wife Beryl many years ago.  But through the magic of social media, I was able to reconnect and we exchanged phone numbers.  Jeff was very moved through our phone conversation and had many fond memories of my dad.  It was a side of him I hadn’t seen as a child, or hadn’t noticed wrapped up in my own little bubble of youth.  He spoke about the running of the brewery, and how it evolved with technology and the addition of computers over the years.  My dad was a beer brewer and ended up as shop steward due to his outspoken nature and fierce protection over what he thought was right.

Jeff went on to describe my dad as a ‘gentle giant’, which echoed my own thoughts of him and brought me back to thinking about the structure of the tower. How indeed the tower stood over the town centre as a giant, it’s familiarity giving the people of the town that sense of belonging, as if it was part of all our histories, of all our memories.  Thwaites tower, not just bricks and mortar, but a beacon of working class culture, consciousness and reflection.


** Please see the continuing journey of this project in Thwaites Brewery Tower, not just bricks and mortar?  Part two: A concept**

Experimenting with text and poetry: a creative thought process, Part One

Towards the latter part of the second year of my BAFA degree at Blackburn College, I began incorporating text in the form of poetry into my visual work. This evolved through research and experimentation set in a sketch book, and used as a journal to depict my own thoughts and feelings about my life experiences and the immediacy of events happening in my life at that present time. This eventually evolved into a video installation piece, where I used my own body as the canvas for my words. This can be found in detail at http://paulajartyear2.wordpress.com

Sketchbook examples from year 2 below

Above and below: Using collage and photography, and self made poetry to represent emotions

Above: Projections of self composed poetry onto my upper torso/face and photographed by fellow student Michelle Elaine Ayers.

Stills taken from final video installation. 

Going into year 3, I wanted to follow this journey by creating a small volume of work as a side project where I could continue to experiment with materials, mixed media and poetry, ultimately putting my thoughts, or the thoughts of others onto paper and attempting to portray the visual language as the image my mind would create. I have always enjoyed the written word, sometimes getting lost for hours in the dystopian tales of Attwood, or the bleak political and economic struggles of Hines, each paragraph burning it’s own visual into my minds eye, each story leaving it’s mark.  My love for poetry and creative writing sparked during the latter part of the first year of my degree with a response to austerity in the UK and a particularly political message to the ‘then’ prime minister Theresa May, which resulted in a video/performance piece and I had the poem pressed into vinyl to be played on a record player.  (Please note, the video contains offensive language, please do not watch if you are of a sensitive nature)


I saw this valuable time as an opportunity to relax and just enjoy, and create in a hope to see what this process might bring forwards whilst thinking about the final 3rd year show. It was also used as a time to reflect upon the past 3 years which seems to have flown by so quickly, hitting the ground running in year 1, and hardly pausing for breath along the way. I used this time also as a way to unwind from the pressures of the dissertation deadline, and found that the creativity enabled me to process my research in a much clearer manner.

My dissertation is centred around art as a therapy, and I have always used my own art as a way of deciphering, and unclogging situations. Honing in on the emotional aspect of my life. As a nurse, reflection is a massive part of my day to day practice, and whether it was consciously, or unconsciously done, it has manifested itself into aspects of my art, as it is such a big part of who I am.  The dissertation strongly related to the experimental research I had done in year 2 about childhood mental health and my own experiences as a mother.

Experimenting with poetry, materials and text 

above and below:  sketchbook ideas using Japanese posca pens with fabric, printed and book text with self written poetry


I began the 3rd year by starting a sketchbook with random creative ideas as I had enjoyed the process that had led me to the video installation during year 2.  It was a way for me to relax into a new challenge, taking inspiration from the Vivienne Westwood T-shirt’s exhibited in the British Textile Biennial held in Blackburn earlier in the year. 


Korean culture and traditional Hangul text poetry

I am finding myself drawn in by the phenomenon of Korean pop culture, the music, cultural beliefs and language becoming a great source of creative interest to me. I have been reading translated Korean poetry, and find such beauty in the traditional hangul text. I plan to do a full study on this upon completion of my degree, with the aims of having a solo exhibition based solely around the control of Korean idols and the toxicity of the industry. This was something I didn’t feel that I could fully immerse myself into at present, as there was still so much exploration to do with regards to my personal experiences and what I want to ultimately achieve to showcase my work for the degree show. However, I did enjoy the freedom of exploring ideas in my sketch book using the Koran love poetry of Kim Yong-taek, and collaging imagery and text together, in a style that has become a massive part of my work.





Blackout Poetry

When doing the experimental research module in year 2, I used a representation of a Japanese Orihon and incorporated some blackout poetry as a drawing tool. This enabled me to experiment with line, form and poetry and opened myself up to a new creative process.

I decided to continue this form of experimentation in my sketchbook as another element of thought process, with ideas starting to form for the degree show. Using pages from old novels I had sourced from the charity shop, I did a series of images/designs and made my own poetry from the existing words.

I always find this method of working useful, in order for me to loosen up creatively and set me onto a research pathway.  I wanted to revisit some ideas to see if there was any scope for evolvement, and what I did find is that I have become more creative with writing and poetry.  Since ‘The Great Austerity’ exhibition towards the end of my 1st year, I have found a fascination in using words or text in my artwork.  I have explored and created poetry, and this has manifested itself throughout my work, and my artwork has grown in response to this, definitely an element I wanted to continue with into my 3rd year. 


Instagram   https://www.instagram.com/paulajaneart/

Facebook    https://m.facebook.com/paulajaneart

youtube.     https://www.youtube.com/channel/UCkvVihM7bFqaFIWOHXp_J-A

This is me!

If the title hasn’t given it away, I’m Paula, AKA Paula Jane Art. I am currently in the final year of a BA Fine art Degree, studying at Blackburn College Art School, Lancashire, UK. I joined the degree programme in 2017 as a mature student, little knowing how much creativity was about to be unlocked through the support of tutors, peers, art research and experimental practice.

I am a nurse who currently works for the NHS on a busy frailty unit, and I’m about to enter my 20th year of being qualified (time flies!!). I am also a mother of a teenager, and that can often be a tough job in itself, but I’ve found that my life and work experiences have manifested themselves into my art over the last 3 years. My love for art and creativity has helped me to compartmentalise my life, and often stressful job, bringing with it clarity and perspective. It has opened doors and taught me that even in your 40’s you can begin an exciting adventure, learn new things and meet new people. Yes, I am a nurse, yes I am a mother, but most importantly I am me, I am an artist!

The main content of this on-going blog will be the journey through my final year of the Degree course, but it marks the beginning of my creative future as an artist. The links to my first and second year blogs are added below if anyone is interested in my journey so far, it’s been one hell of a ride and I’ve relished every moment……enjoy!!



Create your website at WordPress.com
Get started