Graduate Season
Nicola McCartney, Thursday, 24th June 2010
As the term draws to an end, aspiring art students from far and wide poor into the ‘real world’ with a false sense of security provided by the free white walls, in-house ‘crits’ and ready-made network of the institution. The idea that they might have to apply for exhibitions, beg people to look at their work and market their own shows in future seemed a distant if even conscious concern of those I met last Tuesday night at the Royal College of Art Painting 2010 degree show. This cocky attitude, however, generated a sense of liberation and bravery that meant I witnessed some quality, fresh work, which could only have belonged to the doe-eyed-deer, fresh blood of the art world – uncompromising, hopeful new graduates.
Striking work came from mono-chrome, photo-realist, pencil draughtsman Adam Bainbridge, who broaches the surreal and suburban within his subject matter (see above), and painter Gareth Cadwallader, who successfully revises old masters with the same jaw-dropping meticulous attention to detail but with a contemporary edge and amusement. Their work, though doing nothing to challenge the stereotype of the Royal College degree show – ever-so slick and commercially viable – held up the skills end of the show with a knowing irony and informed approach to their craft. Also standing out was multi-media artist Annie Fehrenbacher. Her large-scale installation, comprised of feathers, photography and sculpture, commanded the room and those within it. Ominous and broody, the talisman nature of the seemingly random but obviously carefully considered collection of pieces made the viewer work for an understanding, forcing them to question and engage, which they did, rather than spoon-feeding them a digestible helping of ice-cream art, the danger of the Royal College Painting department. On the opening night it was the only quiet room I visited, with the little mutterings being of bemusement and appreciation. Though the dark red walls and blanket screen significantly aided this, Fehrenbacher pioneered her own show within the department.
The department’s new studios that opened in November 2009 seem to have done wonders for the spirit for the 2010 graduates. I only hope this continues as the institutional reigns are slackened and the safety net drops. The purpose of post-graduate study, especially within Fine Art, is often debated, but the Royal College provides some of its graduates with studios and awards, even purchasing their own student’s art. For the rest, they gain eternal prestige and an extended network of contemporaries. Good luck to them and their new ventures, may we see a new generation of young British art.
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