Simon Bliss is Academic Liaison Manager in the College of Arts and Humanities and works with the University of Brighton's International College, helping to prepare students for progression to undergraduate and postgraduate degrees in art and design.
He has many years’ experience of teaching and supporting international students. Simon's main research interest is in the decorative arts and design of the inter-war years.
He joined the University of Brighton in 2013 from the University for the Creative Arts, where he worked as MA Course Leader, Director of Studies and Associate Dean for postgraduate studies and research.
Simon has extensive experience of supervising undergraduate and postgraduate students in architecture, interior design, jewellery, design crafts and fine art. He has been an external examiner at London Metropolitan University (Sir John Cass Faculty of Art, Media and Design) and Birmingham City University (School of Jewellery).
Simon's main research interest is in the decorative arts and design of the inter-war years. His current research focuses on jewellery of the interwar period in relation to the emergence of the New Woman, jewellery and the avant-garde and the place of jewellery in European and American literature.
Simon teaches art and design history and theory and supervises research projects in design. He also teaches research methods for art and design as well as leading seminars and reading groups on a variety of arts and design subjects. Simon specialise in teaching postgraduate students including many who are new to the UK and its higher education system. He enjoys teaching students from all over the world and from all backgrounds.
My approach is to make the study of historical and contemporary contexts as relevant as possible to students engaged in practice-based subjects. This includes considering the international dimension of art and design and the discussion of artefacts and texts which allow for shared discussion of national and global contexts and debates.
I seek to use my own research in my teaching, drawing on examples from many different areas of visual culture to make connections. I believe it is essential students understand that most creative solutions rarely happen in isolation and I encourage the exploration of ideas across traditional subject boundaries.
I often use actual objects in my teaching. These are either brought in by students themselves or are sourced from my own collection. Students are always asked to prepare for seminars and individual tutorials in advance so that some of our time together can be spent in dialogue and conversation rather than direct instruction.
'"L'intelligence de la parure: Notes on jewelry wearing in the 1920s", Fashion Theory. Vol. 20, Issue 1, pp. 5-26.
'Charlotte Perriand, ball bearings and modernist jewelry', Modernism/Modernity. Vol. 20, No. 2, 2013, pp.169-188.
'New Displays: The Musée des Arts Décoratifs, Paris', Silver Studies, No. 22, 2007, pp. 77-81.
'Cubistic Claptrap? Erik Magnussen's The Lights and Shadows of Manhattan of 1927, Silver Studies , No. 21, 2006, pp. 113-9.
'Thoroughly Modern: Reflections on the work of Jean Puiforcat', The Silver Journal , Autumn 2003, pp. 141-9.
'An Early Nineteenth Century Engraving of Malling Abbey Tower', Archaeologia Cantiana, CXXII, 2002, pp.417-423.
'A Question of Identity? The Column Figures on the West Portal of Rochester Cathedral', Archaeologia Cantiana CXII, 1993, pp.167-191.