Sculpture Art (BA) : Différence entre versions
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However, notions of laboratory-workshop and explorations remain important; students will have to maintain a proactive practice. | However, notions of laboratory-workshop and explorations remain important; students will have to maintain a proactive practice. | ||
The autonomy acquired by the students is of great importance in the process of evaluation to get access to the Master’s degree. The main concern of this third year is the highly personalised and individualized approach of the student’s practice, while establishing connections with the outside world. | The autonomy acquired by the students is of great importance in the process of evaluation to get access to the Master’s degree. The main concern of this third year is the highly personalised and individualized approach of the student’s practice, while establishing connections with the outside world. | ||
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| + | '''Masters''' | ||
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| + | Professor : [[David Evrard]] | ||
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| + | This course is about creating an economy that allows students to engage in a professional relationship with their practice. They organise the workshop. They create works alone and in co-operation. They work on an internal (workshop events) as well as on an external (they can for example save to buy magazines, share references, etc.) documentation. They are confronted with public situations and are lead to initiate and reflect on them. | ||
| + | Students are invited to start their individual practice in an effective relationship with others, be it other students, the professional world, or other agencies. This relationship with otherness is essential to the course. Of course, this feature is translated in the relationship with techniques, materials and spaces that can be engaged in the sculptural practice. | ||
[[Catégorie:English]] | [[Catégorie:English]] | ||
Version du 22 août 2018 à 10:12
Bachelor 1, 2 & 3
Professor : Frédéric Gaillard
During the first year, we focus on discovering and using materials as well as learning technical and production skills related to sculpture production, but also inherent to the art of sculpture. By realizing the endless variety of materials they can use, students appropriate and surpass them by giving them an enriched status, a metaphorical transformation, another reference point. By exploring this diversity and through many experiments and practices, one can start a personal work in the context of contemporary art history. By using the experience acquired by the students during the first year, the course further questions materials, media and techniques that can be used in sculpture in the broader sense, as well as different notions that stem from it. We focus especially on sculpture and its relation to space as well as on links with other artistic disciplines. The workshop aims at developing an established, personal,autonomous and conscious approach and to radicalize the plastic language. There are no exercises during year 3. However, notions of laboratory-workshop and explorations remain important; students will have to maintain a proactive practice. The autonomy acquired by the students is of great importance in the process of evaluation to get access to the Master’s degree. The main concern of this third year is the highly personalised and individualized approach of the student’s practice, while establishing connections with the outside world.
Masters
Professor : David Evrard
This course is about creating an economy that allows students to engage in a professional relationship with their practice. They organise the workshop. They create works alone and in co-operation. They work on an internal (workshop events) as well as on an external (they can for example save to buy magazines, share references, etc.) documentation. They are confronted with public situations and are lead to initiate and reflect on them. Students are invited to start their individual practice in an effective relationship with others, be it other students, the professional world, or other agencies. This relationship with otherness is essential to the course. Of course, this feature is translated in the relationship with techniques, materials and spaces that can be engaged in the sculptural practice.