Course Information

Offering Studio

In this course you will investigate the contributing influence of imaging technologies on the artistic, stylistic and conceptual production of fine art photo works. You will acquire a capacity to formulate and articulate a conceptual foundation for your practice, and to make appropriate decisions as to which mediums and presentation methods best translate your conceptual premise through a photographic practice. Print imaging technology, including photographic and digital processes will be explored to assist you in diversifying your options for fine photo work production. You will develop an understanding of the possibilities offered by photography and its position within contemporary art practice through visual research and experimentation, while continuing to refine your technical skills in order to produce a resolved body of artwork.
You will also deepen your analytical thinking and making skills to locate your studio practice within the broader context of fine art. In consultation with your lecturer, you will take responsibility for the determination of your program and will be encouraged to consider appropriate options for your arts practice.
This course is a self-directed learning program that establishes appropriate methods with photographic related technologies for developing visual projects. The course is designed to align the process of articulation and application of concepts and ideas to photography with related materials and methods of production. The course will cover health and safety issues in the studio, lab and workshop and its relationship to contemporary art practice.

Extended Studio Practices explores of the diversity of contemporary painting. In this course you will be encouraged you to develop an individual studio practice that explores materials, processes, technologies, and ideas which contributes to a broader understanding of painting as a discipline and its potential as a hybridised art practice. The course raises a series of provocations including: What painting is (and isn’t)? How painting in an expanded field can be explored through materiality, time, location, the role of documentation and of multi-media through process-based projects. Painting in this context becomes material, media, a process, a medium, an object, a spatial field, a concept or a discourse in and of itself. In will encourage you to think about painting through its own historical trajectories and as an expansive lens whereby it intersects and engages with other disciplines including sculpture, installation, drawing, photography, video and other digital medias.

This course develops your capacities to materialise art across a range of media and to broaden the scope of your emerging practice. It will support you in developing knowledge and facility in the study of figuration and its capacity for change through transformative practices. It provides practical and theoretical methods for translating the figurative forms such as the human body, by employing analytical, technical and interpretive processes in painting. Over the course of the semester a series of studio classes and projects will address both contemporary and historical perspectives as it relatives to ideas of figuration and transformation. It emphasises ideas of figuration and transformation related to picture making, narrative, perception and identity. This is underpinned by experimentation and related studio research.

Installation art has been a dominant mode since the 1960’s and over that time has evolved to continually reflect contemporary culture. In this course you will explore installation as a spatial practice in the context of site and form. You will examine installation as a hybrid form that negotiates boundaries of traditional art practices such as painting, sculpture, live art, video, film and theatre. This course focuses on the history and critical reception of installation as a practice. You will investigate how conceptual, spatial and material needs define the language and application of installation art. How architectural space functions in the presence of the artwork will be an important consideration of this course.

Drawing on the rich historical ceramic traditions of China and Hong Kong and using the many ceramic collections in Hong Kong, such as the Hong Kong Art Museum, the Art Museum of the Chinese University of Hong Kong, the Hong Kong Museum of History, The Hong Kong Heritage Museum, and The Flagstaff House Museum of Tea Ware as starting points, students will source an object that peaks their imagination, interest, passion or curiosity. This ‘historic’ and/or ‘significant’ object becomes the conduit for conceptual, historical visual and technical research. Students will be encouraged to develop an individual approach and (re)interpretation to develop new work, utilising a range of ceramic techniques which draws on the selected artwork or artefact as the source of their investigation.

In this course you will initiate a body of artwork and related research. Through a series of specific projects. you will define, research, document and present an area of individual material practice. You will be encouraged to develop a personal aesthetic sensitivity in relation to your own artwork. The material knowledge from this research will then be transformed into a series of resolved artworks. you will undertake a semester long research project to produce a research archive as well as a body of ceramic objects that respond to this research. You will research an area of direct interest to you and your ceramic practice. This course will assist in developing your ability to conduct and document research that is integral to the ongoing practice in all creative disciplines.

[Recommend to Year 3 Ceramics students]

This course draws on Rosalind Krauss’s seminal essay Sculpture in the Expanded Field in which she defines the structural parameters of sculpture, architecture and landscape art, to develop approaches to expanded notions of spatial practices such as installation, the ready-made, performance, conceptualism, site specificity and time-based works. It locates sculptural practice in relation to modernism and through to contemporary practices and encourages students to approach their work in the most expanded way. Students will be encouraged to develop their own responses through a series of guided projects.

In this course you will examine technical, historical and theoretical aspects of video and sound art practice. The course encourages you to develop a critical dialogue between your practice and the history of video and sound art, as they relate to installation and screen-based and sonic modes of exhibition. Through a series of exercises and a program of integrated screenings, class discussions and gallery visits, the practical demands of video and sonic production will be contextualised. You will develop capacities in the processes of video and sound technology and production relevant to your studio practice. The material covered reflects the breadth of the moving image and sonic form production and draws on examples from contemporary art practice in the context of the moving image and sonic form in the home, work and public arena. It includes areas relating to sound performance, acoustic design, soundscapes, the moving image and how it is experienced spatially, projection, and diverse moving images devices used in the production of art. Combining the techniques of environmental recording, studio recording with found objects and materials to create sound and moving image compositions and installation. The course encourages you to develop a dialogue between your studio practice and the history of Sound and Video Art, as they relate to installation, composition, performance and other visual and audio modes of exhibition and distribution.