English Cultural Programme

PIGMENT MAKING by CHRISTINE WILSON

This session will focus on natural pigments and how they are transformed for use by the artist in different medias.

Information will be given about ancient recipes, modern formulations, driers, extenders, binders and preservatives.

The participants will learn how to make their own watercolours and oils from basic raw materials, as well as gain an understanding about how the earliest artists used natural pigments such as ochres and earth colours.

Christine will give information about where certain pigments come from, their early origins and discovery, and modern manufacturing issues such as toxicity.

Notes will be provided for the participants and a glossary, because of the technical nature of the subject. The notes will cover information about different types of pigments, and the especially interesting pigments that are both rare and difficult to make into artists materials.

The culmination of this session will be an opportunity to use the pigments made, using hand made paper as a base for the watercolour paint.

BRUSH MAKING by CHRISTINE WILSON

This session will explore the variety of hairs and fibres that are used in artist’s brushes, both in early times and modern times, and in different cultures. The session considers where hairs and fibres come from in modern brush making, and the type of handles and methods of fixing the hairs.

Participants will learn how to make their own brush, using natural hairs and materials. Bamboo, wood, twine, glue and finally finishing lacquers will be used to make the brush handles.

Different types of brushes will be demonstrated by the artist, and different styles of paintings and art work will be explored with a growing understanding of how the marks were made in the works of art.

The culmination of the session will be for the participants to experiment with different types of brush on hand made paper to make their own artwork.

Notes on the materials, sources for buying these, and technical information about the materials will be provided, along with a glossary of technical words and processes.

The participants get to take home the brush that they have made and their artwork.

FRESCO AND ROMANIC ART IN CATALUNYA by CHRISTINE WILSON

Christine will use as a source the symbols and paintings found in the frescoes that are currently housed in the Museu Nacional de Art de Catalunya. These frescoes have been rescued from neglected and in some cases derelict churches in Catalunya and have been restored and relocated in the museum. They have been placed in reconstructions of the original churches, and give the viewer an opportunity to study the artwork at close quarters.

Participants are encouraged to visit the museum prior to the session to view the frescoes and become familiar with the themes, symbols and colours.

The session will be a workshop where a small section of fresco is made using traditional materials, and the participants will have the opportunity to make the plaster base, mix the pigments, transfer a drawing then paint a part of the fresco.

The symbolism and themes of the frescoes in the museum will be discussed using illustrations of the works. The artists that made the original frescoes and their way of life in medieval times is discussed, as well as their relationship to other artisans working for the church such as stained glass artists, goldsmiths and icon makers.

STAINED GLASS by CHRISTINE WILSON

The artist will explain in detail the whole process of designing and making stained glass, including the making of lead cames and glass blowing.

Designs, cartoons and cutlines will be shown to support the explanation, along with illustrations of actual projects made in stained glass.

The Modernist leaded lights that decorate many Modernist buildings in Barcelona will be illustrated and explained.

All the techniques that are involved in the most complex works of stained glass are explained (demonstrated where possible) and illustrated. French embossing, acid etching, staining, painting, enamelling and fusing are just some of the principal techniques involved in the decoration of the glass. The methods of joining are also explained, using lead, copper, bronze, solder and flux.

The types of glass that are available to the stained glass artist are discussed, as are the types of paint and stain, and their composition and methods of using.

Participants are encouraged to take the opportunity prior to the session of looking very closely at the stained glass by Joachim Mir displayed in the Museu d’Art Modern in the Parc de la Ciutadella. This is at eye level and comprises three large pieces joined in a frame, and will allow the possibility of a very close inspection.

Full notes explaining the session will be available to take away, along with a glossary explaining the terms and materials. A guide to the best sites for seeing the best of the stained glass in Barcelona will also be given to participants.

GUIDED VISITS TO ART EXHIBITIONS by CHRISTINE WILSON

Christine is an experienced artist and studied art history at degree level. Her talks and guides are usually given from the perspective of a practicing artist, and try always to answer fundamental questions of why the works of art look like they do, or why these works are so important. Often curators of exhibitions forget to explain their rationale for choosing certain pieces, nor explain why they have put certain works together.

Depending on the exhibition, the talk and guide will focus on different themes. However, the theme and perspective that is chosen will be different to that given in the official audio guide or catalogue. Christine’s talk is never a re-hash of these things, but is always a considered response to the work displayed, and to the questions not answered by the official information made available. Therefore, participants are encouraged to see the exhibition before the talk and to take advantage of any audio guide available, and to look at the catalogue – in English if possible! They will then be more prepared for the talk given by Christine and aware of the different focus and ground covered.

These sessions will include a lunch which will follow on from the talk and visit to the exhibition, in order for a more full discussion of the work to take place.

Notes on the talk will be available for participants to take away, as will a glossary of any materials, techniques or styles, as appropriate to the subject.

ART AND MUSIC EXPERIMENTAL WORKSHOP by THEKLA VON DOMBOIS and CHRISTINE WILSON

This workshop will combine two artist’s presentations of themes such as:

• the Baroque in art and music
• impressionism in art and music
• contemporary art and music

The artists will demonstrate in different ways characteristics of each period, and show relationships and divergences between them.

Participants will hear music played by Thekla, and get to take away one of her CD’s which will have formed an integral part of the workshop.

Christine will demonstrate and illustrate the art themes, and participants will be encouraged to think about creating their own art while listening to some of the music. The art materials will be provided. For those not comfortable about actually painting, you are encouraged to just contemplate the process of the creative mind while listening to the music of different periods.

In order to facilitate this exploration of two art forms and their parallels, the session will be broken into three parts, and each part will include some explanation of the music and of the art of that period, and some practical exploration of both mediums: listening, and painting or contemplating the artistic process.

At no time is there any evaluation or art criticism made of the art produced during the session. The intention is to learn something about each period and style, and to find parallels between the art forms. The opportunity to paint, or contemplate, is an enriching experience but can seem scary to some when done for the first time. Because the groups are small, and the work is done in a non-competitive and uncritical environment the feeling of enrichment is greatly increased, and the process is wholly enjoyable. Participants are able to take their work away with them at the end of the session, along with notes on the themes written by the artists.

PAPER MAKING, PAPEL DE SEDA, TEXTURES AND MIXED MEDIA IN ART by CHRISTINE WILSON

Different types of paper are explained, with an emphasis on artist’s papers. The whole process of paper making is explained, and then participants are shown how to make their own small pieces of hand made paper from recycled materials.

Having made some paper, which takes a long, long time to dry naturally, participants will experiment with previously made paper. Different textures, colours and additions that are possible, are explored.

Further surface textures using the Papel de Seda technique will be demonstrated and participants can experiment and create their own work, with all materials provided.

Mixed media in art is explained and demonstrated with illustrations, and participants are encouraged to use their own selection of media to create their own work. Those that are new to making their own art need not feel uncomfortable. At no time is any evaluation or art criticism made of the works produced. The idea is to explore the theme and learn about papermaking, surface textures and mixed media.

Notes written by the artist will be available to take away as will a glossary of techniques and materials. All materials are provided, and participants get to take away all the things that they have made during the session.

THE POTATO AND KEY WORKSHOP by BEATRIZ BLANCH

Have you ever been to a modern art show and wondered “what the hell is that all about?”
Well, I’m an artist and I sometimes still do!
How can we approach somebody else’s ideas with deeper respect and tolerance?
Experience is the best teacher.

What happens if you juxtapose a potato with a key?
What happens to the relationship between them?
What has happened in your mind when you decided to place them together?
Which is the poetic connection? Personal, political, social...?

The end product is the result of those, amongst many other decisions. Creativity lies within that thought process and is aided with technical dexterity and experience. Going through those motions yourself contributes to a different understanding of modern art.

Experience the process in the “Potato and Key Workshop”.
Discover, learn and experience order and disorder, construction and deconstruction, sense and sensibility, intuition and logic...

SCULPTURE by SUZANNE FURLAN

My name is Suzanne Furlan. I am an American born sculptor. Most of my recent work is abstract although I have also worked extensively with the human figure. I am really excited about opening a window onto the world of sculpture for you!

In the first part of your Sculpture session, I will tell you a little about myself and my work. It is your chance to find out just how a bronze copy is made, how one hollows out a clay figure, how a human size figure is constructed. I will answer your questions based on my professional expertise. We will view some of my recent work and so gain insight into some of the hidden technical aspects of sculpture, both in the round and relief.

After a short break, where we can put more informal language into practice, it will be time to get back to our session. This second part will be dedicated to viewing the masters. Material will be selected from some of the world’s greatest collections made available for sparking discussions posing questions that will open understanding to what art is… Just what is art?!?! We will break into smaller groups in order to compare and contrast everything from international public works in Barcelona such as Roy Lichtenstein, Claes Oldenburg, while paying homage to some of my favorite Catalan sculptors such as: Miguel Blay, Josep Llimona, y Josep Clara. This is your time to find out just what moves someone to create forms which can range from a sheet of metal (Richard Serra ) to a gentle rendition of a woman in desolation(Clara).

It will be time then for a snack to strengthen us as we move to a more active tack, yes, time for hands on experience. Almost any kind of material will do, be it construction paper to wire to clay. Your experience guided by mine. It is your turn to turn out a work of art, or at least experiment in the fun world of form!