HELP for ART

HELP for ART

Please help me raise money for my living costs during my masters starting this October in exchange for artwork!

We did it!

On 6th Sep 2016 we successfully raised £1,305 with 16 supporters in 56 days

My name is Emily: I am a 22-year-old artist specialising in painting, drawing and book-making, having just completed my Degree in Fine Art at the University of Oxford! (Here's a link to my page on the Degree Show website.)

I have recently won a place to continue my studies at Oxford to do a masters in the History of Art, but I need your help! I am trying to raise money to go towards my living costs for next year. The average Oxford student, during twelve months of graduate studies, should expect to pay between £11,636 and £17, 191 (figures quoted from the Graduate Studies Living costs website), and I just cannot manage by myself. 

Statistically, it is very difficult to secure a place on this Masters course (around 152 people apply for just 20 places - more information here). I have tried all other possibilities for funding, but have been unable to secure anything, as there is very limited budgeting for Art and the History of Art in higher education. It would be utterly devastating to miss out on this opportunity due to a lack of finances.

Studying the History of Art will enable me to enrich my artistic practice with a huge depth of knowledge that I would not gain otherwise. Much of my art is inspired by the art of the past, not only in subject matter, but in technique and method, the latter of which I am presently exploring in a series of paintings incorporating gold leaf (see below!). Rather than directly copying or imitating the art of the past, I enjoy making specific references to certain moments in art history, and creating a sense of déjà vu. 

My thesis will be based in the Print Room at the Ashmolean Museum in Oxford, working with the collection of Pre-Raphaelite drawing and examining the relationship between the illustrations for the works of Alfred, Lord Tennyson and the poems they were made for. I find the relationship between image and text fascinating, especially where the work becomes less an illustration, and more an interpretation for a singular artistic vision. In making the choice to study this particular group of artists, I hope to be interacting with ways of making art that are closer to the way I hope to continue working: finding inspiration in works of writing, directly from nature in a way - as John Ruskin wrote - that is 'rejecting nothing, selecting nothing, scorning nothing', and like them, I hope to learn from the past to inform my work.

For me, it is essential that I look at artwork in the flesh: it can teach much more about drawing techniques and the ways the artist builds up an image than looking at photographic images alone (as photographs contain no texture). Drawing is a fundamental part of art-making, the first and most immediate way in which an artist can get their ideas down on paper in tangible form before, for example, they become paintings or other works. I am very interested in the processes involved in making art, and observing the art of the past more closely can only help me to become better technically, and as a result, more able to use my skills to articulate my ideas in art and, through writing, in language also.

During my studies as an undergraduate, the argument of my dissertation 'A Willing Suspension of Disbelief: Art and Illusion in the Still Life Tradition' centered around the suspension that enables us to look at art - specifically still life painting, and the part it plays in the paintings of contemporary artist, Julie Heffernan - and believe it to be real. My research was, again, focussed on the collection of Dutch still life painting in the Ashmolean Museum. For this essay, I was awarded the Stuart Morgan Prize for Art History, a prize awarded for the most outstanding essay submitted for the Final Examination.

I am also the first student artist to be exhibited in the Great Hall of Balliol College, a space usually reserved for the commissioned portraits of the masters of the college, a space in which I hope to be able to continue exhibiting my work.

Thank you in advance for your support in enabling me to continue my studies. In return for your generosity, I will exchange my artwork (in both original and print form) and handmade books, so that everyone will get something beautiful!

Seraphim Studies (2016), oil on four pieces of paper

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Seraphim (2016), Oil on linen

SLEEP SERIES:

First row, left to right:1., 2., 3.

Secind row, left to right: 4., 5., 6.

Felicia (2015), coloured pencil on paper

Felicia Studies (2015), Graphite on paper

Diptych (2015-16), Oil on un-mounted linen

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Magdalen Study (2016), Oil on paper

This painting, one part of four studies accompanying the large painting below, is currently being exhibited in the Great Hall of Balliol College.

Magdalen (2016), Oil on linen - more information here

Sleep, or The Golden Shard (2016), Oil and Gold leaf on panel, framed in maple

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Angel Illustration (2016), Ink on paper

Butterfly Series:

(Please note: I'm not entirely sure where the wiggly lines come from on some of these images.... it might be the grain of the canvas registering weirdly on the camera.... Anyway, they're certainly not on the actual works! ALL OF THESE HAVE NOW SOLD! If you like butterflies, I have made numerous watercolours and drawings. If this is of interest, do get in touch!) 

MORE BUTTERFLIES:

Wings A:

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Wings B:

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These paintings can be hung as a pair, or they can be displayed seperately. The edges are painted, so the image spills past the flat surface as you look straight on (pictures below to give an idea). They are listed as seperate rewards.

Some examples of my bookbinding are found below. For the covers, I usually use marbled paper in varying colours, with a coloured book-cloth spine. The use of coloured book-cloth for the corners varies depending on the size of the book (more likely to use them with a much larger book for the right balance of cloth to paper). The end papers will be matched to the outer colours either in another kind of marbling or plain. (The colour of the books depends on the availability of my materials, and for that reason it is much more difficult to take requests, as each object is completely unique.) For the pages, I use a textured 'laid vellum' paper in a creamy ivory colour, which takes all kinds of ink very well, and is also good for drawing on. 

I will be adding new images as I update rewards, as I have made much more work than is pictured here...! If you like my painting and drawing, please help, and support me!

If you have any questions about my work, or anything you'd like me to add as a reward please get in touch and I'll see what I can do!

Thank you in advance!!

Emily 


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