Bob Stone

DESCRIBE YOUR APPROACH TO TEACHING

Rather than emphasise technique I believe in the physical and tactile manipulation of paint, realising that through this engagement we begin to discover what something feels like as much as what it looks like. Throughout there will be demonstrations of how to use and apply paint in a direct manner and how to work over and take the painting further. Drawing within the paint and as an activity in itself is seen as an interrelated concern in that preparatory direct and sustained drawings will feature as part of the course. Group criticism with direct reference to students work with feedback and response to how they feel will be part of the daily programme in addition to individual advice. There will be a lecture on the subject and nature of transcriptions, involving the comparison and similarities of the two paintings with some historical contextualisation but more to the point this is how artists use, respond and interpret other artists work, there will be engaged supportive dialogue throughout.

WHAT WILL STUDENTS GAIN IF THEY COME ON ONE OF YOUR COURSES?

For students wishing to make a portfolio application, artists wishing to be refreshed, people seeking the means to structure a studio work schedule ,people seeking a connection between practice and art history or for the novice. Students will gain greater confidence in the use of media and its manipulation. They will gain a greater understanding of the relationship of drawing to painting not as a separate concern but as mutually interrelated. Colour and its significance will be emphasised and the students desire to interpret through colour will grow naturally. The often worrying thought of how do I relate to another artists work and take on influence will be broached, students will not be copying from them, they will be making distillations and fusion. They will get to know intimately the works of Cezanne’s (National Gallery) ‘The Bathers’ and Giotto’s, ‘Lamentation’ and by extension their knowledge and interest of these two artists will grow contextually and historically. By working in a group situation the student’s ability to articulate and form ideas about art and their critical discernment will be enhanced.

ARE THERE ANY PARTICULAR TECHNIQUES/PROCESSES YOU USE IN YOUR TEACHING?

My teaching is direct both in terms of contact and advice given and in its methodology and practice i.e. hands on and contact. However the subject will be brought to life by the use of a model adopting the poses of the figures in the paintings and by reference to slide projections of the works.

WHAT INSPIRES YOUR OWN WORK?

I have a studio in the Languedoc region of France where I paint the landscape. I was taught and worked with the painter Dennis Creffield and respond to work that seeks out mass and form. I had a recent exhibition of painting and drawings entitled Harold and Barbara at the Sidney Cooper Gallery, Canterbury, this was an imaginative memento and tribute following my mother’s death. I sought to fuse landscape, figures loss and memory together through the
cycle of life and death.

WHERE CAN STUDENTS SEE EXAMPLES OF YOUR WORK

I have paintings in private collections and in St Thomas’ Hospital, Harrow London. Further examples of my work can be accessed at Canterbury Christ Church University and on the Sidney Cooper Gallery web sites and on my blog Bobstoneart.wordpress.com

WHERE DID YOU GAIN YOUR TRAINING/EXPERIENCE? (INCLUDE ANY QUALIFICATIONS)

I trained at The University of Sunderland (Foundation course in Art and Design Certificate), The University of Brighton (BA Hons 1st class Painting).Chelsea College of Art (MA Painting)

WHAT TEACHING EXPERIENCE HAVE YOU HAD?

I have taught at many universities and art schools from Foundation Course, BA, MA to PhD, lecturing at the Central School of Speech and Drama, Chelsea college of Art., The University of Hull, The University of Brighton, The Old Dover Road School of Art Canterbury and currently I am the Key Programme Co-ordinator for the MA in Fine and Applied Arts at Canterbury Christ Church University.

IS YOUR WORK IN ANY PUBLIC OR PRIVATE COLLECTIONS?

St Thomas’ Hospital Collection Harrow London, Private Collections of Dr Klaus Rubble, Dennis Creffield, Dr Robert Snell, David and Christine Brown, Mihai Dragetsu.

HAVE YOU WRITTEN ANY BOOKS/HAD ARTICLES PUBLISHED?

Exhibition catalogue Bob Stone Harold and Barbara, Paintings and Drawings in Remembrance IBSN 978-1899253-78-4 with critical essays by Julian Bell, ‘Bright Trees, Bare Traces’ and Michael Paraskos’, ‘In Midst of Other Woe’. My work is mentioned in Julian bell’s essay, ‘Territory’ Modern Painters and in Christina Koning’s essay, ‘Back to Basics,’ The Times and in Professor M. Tucker’s catalogue essay, ’A Company Beyond Time’.

DO YOU BELONG TO ANY PROFFESSIONAL GROUPS/SOCIETIES?

I am part of the Baptist Church Studios Coldharbour Lane Camberwell, London and was from 1994 until 2008 a Company Director of Unit 7 studios Plc. From 1996 to 1998 I was a member and curator of ‘Territory’ among whose artists I still have a close working relationship.