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"I have illustrated many books in different media, but have always had a preference for my engraved work. In the last 15 years I have concentrated more on this area, particularly in children’s books, where I engrave both on wood and vinyl: I print and collage using textured surfaces mainly from the wood plank."
Following his graduation with a BA(Hons) Fashion and Weave in 1990, Mark Eley formed a highly successful creative partnership with Wakako Kishimoto to become the high fashion brand Eley Kishimoto.
Painter, art teacher and elder brother of Ronald Horton studied at Brighton School of Art on a scholarship between 1912 and 1916, passing the Department of Education drawing examination with a distinction in 1914.
A highly respected topographical landscape painter, Charles Knight was an important figure in Brighton School of Art over many decades. He attended Brighton School of Art (1919-23) where he was particularly influenced by painter Louis Ginnett and architect John Denman.
"At Brighton I encountered one of the most creative undergraduate fashion textile design courses in existence and a new design history course, and learnt not only much about historical research but also about teaching practice. My PhD supervisor, Lou Taylor, took me in hand with immense generosity"
Gwyther Irwin was an artist of great originality and invention who became head of fine art at Brighton College of Art in 1969, where he remained until 1984.
Born in 1933 and educated at Brighton Grammar School and Brighton College of Art (1949-1954), the artist and teacher David Chapman played an important role in the development of several aspects of the School of Art.
M.E.Cuddihy@brighton.ac.uk
Artist and writer Mikey Cuddihy uses autobiographical references in a struggle for harmony between the romantic vision of the artist and the reality of the individual. She often scales up intimate notes and sketches. Major exhibitions have shown her biro drawing, collage and paper cut-out work.
"In January 1979 I was appointed as Head of Fashion and Textiles at Brighton, moving to Courtaulds as Design Director in 1985. Two years later I was head hunted by Next to head up interiors and in 1989 I became Professor and Head of Fashion and Textiles at the Royal College of Art."
"As a young teenager I loved the degree shows (mainly I think, because the students would sell me wine in a plastic cup!). I liked everything about the college, from the inky smell to the squeaky corridors, but as I got older teenage rebellion kicked in and I dropped out of education (and society) to become a traveller and live in a bus."
Ethel Mairet’s achievements can be seen not only in terms of her weaving and dyeing techniques, but also in terms of her ethnographic observations, her educational interests and her contributions to the meaning and value of ‘craft’ in the first half of the twentieth century.
D.Clews@brighton.ac.uk
After registering as an architect, David Clews spent ten years in practice before becoming a full-time academic. He joined the University of Brighton in 2000, as a Principal Lecturer, to lead the Academic Programme in Architecture & Interiors.
"I came to study in Brighton... in order to find the furthest college from my home at which to study art. This method paid off, because I found a truly exceptional and open educational system that has stood me in good stead throughout my art career."
"At Brighton my studio was in Tichbourne Street but I was asked to cover for a colleague. I moved into the wood studio and worked there in order that it could stay open for the students. During those three years I made the boardroom table for Templeton College Oxford (50 panels veneered on the old college vacuum press), most of the furniture for one of the Roxy Music band members and won the Sunday Telegraph Craftsman of the Year award.
I joined the History of Design BA programme in 1984. In academic terms, this was a new subject that set out to explore the meanings and role of things in the modern world. On the pages of glossy design magazines, this meant chic objects by stars, but my tutors were very keen to expand the ‘canon’.
Ian Potts was a highly successful painter and educator, leading the painting department at the Brighton College of Art. He worked primarily in watercolours, drawing on the traditions of British landscape art in the medium and bringing to it his own dynamic and creative vision. His subjects included the South East Coast of England, the Atlantic coast of France and the Mediterranean.
Helen Chadwick studied on the sculpture course at Brighton Polytechnic from 1973 to 1976. She went on to complete an MA at Chelsea, and then quickly became a kind of proto-yBa (young British artist), making installations addressing the power/gender relations inherent in specific environments. She gained celebrity with her autobiographical installation Ego geometria sum (1982-4)
Barry Barker worked within the contemporary visual arts as a curator, writer and director of both publicly and privately funded arts organisations, predominately working directly with artists leading to many significant exhibitions.
David Robson joined Brighton Polytechnic School of Architecture in early 1984. "The ethos of the School still owed much to its Arts and Crafts foundations with a structure of Beaux Art rationalism and clad with a layer of Bauhaus modernism."
William Bond was Head Master of Brighton School of Art from 1905 until his sudden death in 1918. An accomplished painter in both oils and watercolours, he had been a pupil teacher at the School prior to undertaking further artistic training in Paris. He exhibited regularly at the Royal Academy.
Michele graduated in Fashion and Textiles in 1994 and is now a textile designer for a number of high street stores.