The Royal College of Art’s newly-appointed Head of Painting talks to us about her transatlantic journey from art student to educator. Interview: RACHAEL FUNNELL
How did you become Head of Painting for the Royal College of Art?
I’ve always admired the reputation and the artists who have studied at the Royal College of Art. When the vacancy for Head of Painting was announced, I underwent an extensive screening and interview process and eventually, the position was offered to me.
It’s a fantastic opportunity to work with the latest talent and encourage them to broaden their perspectives with my expertise and experience. I am also keen to further the college’s well-established reputation in the United States.
How do you feel about relocating to London?
London is a rich, vibrant, cultural city that my partner, our puppy and I look forward to relocating to. I have visited a few times but am ecstatic to fully immerse myself in the city and its visual arts scene.
When did you know you wanted to pursue a career in art?
My relationship with art began at the age of three when I declared to my mum that I wanted to be an artist. I actually have a diary I kept at the age of five in which I make that same statement.
I initially wanted to be a comic book artist and animator. I still love the beauty of cartoons which combine aesthetic simplicity with conceptual complexity. These early interests have definitely manifested in my current art practice and style.
What steps did you take to make it happen?
Denne historien er fra Summer 2019-utgaven av Artists & Illustrators.
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Denne historien er fra Summer 2019-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
