ncas Norwich University of the Arts Graduate Awards 2025

Every year ncas awards two prizes to Norwich University of the Arts graduates, a Fine Art and New Makers prize with two commendations in each category.

This year ncas is delighted to award the Fine Art prize to Layla Adams (pictured above with ncas Vice Chair Selwyn Taylor) for her triptych of large landscape paintings in oil and oil pastel. Commendations go to Lily Molesworth and Casey Jackson.

The New Makers Prize was awarded to Elizabeth Maw (pictured above) for her large structure of repetitive and organic forms made from boxed steel section and steel mesh. Commendations go to Esme Vivian-Shaw and Niamh Thompson.

“What colour is that?” Notes of a painter on the slippery properties of colour. A talk by artist-curator Trevor Burgess

Event date: 15 May 2025
Review by Danusia Wurm

 
 

Trevor Burgess at the Blake Studio, Norwich School

 
 

Artist David Hockney has said, “I prefer living in colour.” And this could apply equally to artist-curator Trevor Burgess whose beautifully articulated talk explored the “slippery” properties and perplexities of colour and how artists attempt to render its sensation.

Exploring the difference between the colour of paint and the colour of light; colour as space and colour as light, Burgess took the audience on a journey that was part science and part experiential. As Burgess succinctly puts it “How inadequate words are for describing colour sensation! That’s why artists use paint”.

Most of Burgess’ work relates to his daily visual experience. “I usually paint from photographs I have taken. In making paintings from these I am seeking to recover a memory of something I saw and what I felt about it”.  Inspired by a quote attributed to Plato "A thing is not visible until it is seen", Burgess is also motivated to depict elements of contemporary life that are not often treated in painting.  He says “Painting has an important role in making things seen”.

 

Quoting Plato is not surprising given that Burgess initially studied literature, going on to train and work as Assistant Curator at the Norwich Gallery for four years at the time of the establishment of the ‘East’ international exhibition. He founded and steered the development of the Warehouse Artists’ Studios in Norwich, where he was based from 1990 to 1997. 

Completing an MA Winchester School of Art in European Fine Art, Burgess moved to Barcelona in 1997. During this period he produced a series of large, figurative paintings exploring the relationships of families and children.

After returning to the UK in 1999 to live in London, he became interested in the characteristics of the urban space around him as subject matter. He began using his own photographs of people’s daily lives in the city as a source. A strong and constantly recurring theme of Burgess’ practice is his painting of street market stalls and shops in his home city of London and various other urban settings painted during his extensive travels.

 

“Living in a city I am affected by the urban environment around me, and for over twenty years my paintings have been a celebration of London's street life and diverse communities.  I am interested in social and cultural expression in public space, and civic life in cities. I have also travelled extensively in Europe, Latin America and India, which gives my work an international perspective”.

A series of paintings of homes in London called A Place to Live, inspired by images in newspaper property adverts, took Burgess in a new direction, winning acclaim from Time Out’s art critic Ossian Ward for The Discerning Eye 2011.

In 2015, he received a commission from Townshend Landscape Architects for a triptych painting of Granary Square, the centre-piece of the King’s Cross development in London. This generated a series of studies and related paintings.

 
 

In recent years, Burgess has become more explicit in asserting and writing about the social context of his paintings, opposing insular, exclusionary and divisive tendencies in UK politics and society. Specifically, the twin crises of Brexit and the Covid pandemic provoked a radical rupture in his work, in which he began experimenting with inverting colour in his paintings.

“My inverted colour paintings were an experiment to see whether colour, the intrinsic material of painting, might be mobilised to oppose and challenge those who seek to foment division and conflict”. 

 
 

The view of Birling Gap and the Seven Sisters cliffs on the South coast of England was the first painting Burgess produced in inverse colours. He made it the day immediately after the Brexit vote (2016). At its centre is a Union Jack flag, torn, also with its colours inverted. 

Equally totemic is where Burgess’ inverts the colours of a painting of the Port of Dover (after Oskar Kokoschka) who fled to Britain from Prague in 1938. “My inverse version of Kokoschka’s painting was completed during autumn 2019 at the height of the parliamentary crisis over Brexit. The painting expressed my fear and forebodings, by making visible the national reversal of the European values that Kokoschka held dear”. 

The Inverse Colour paintings were first shown in a solo show at Flashback, London in 2021.

Throughout, a key aspect of Burgess’ practice is his extensive collaboration with other painters, exploring the social context of painting. Where We Live, a national touring exhibition (2021-2023), brought together five artists who examined under-regarded aspects of the social landscape of England.

Most recently (2024), in collaboration with Raksha Patel, Burgess has curated Standing Ground, an exhibition of twelve British artists who use paint to depict the landscapes that belong to them. Collectively, their work offers an intersectional and intergenerational conversation spanning six decades of life in post-war Britain through examining what it means to paint the place that we live in today. 

ncas wishes to thank Trevor for his superbly delivered and highly stimulating talk and to the Norwich School for their effortless hosting of the event.

 
 
 
 

Sculptor Bruce Gernand studio visit

Event date: 30 April 2025
Review by Selwyn Taylor

 
 

Bruce Gernand’s studio is in the grounds of The Old Manor on the outskirts of Garboldisham in Suffolk.

Thirty ncas members visited Bruce on a wonderful warm, late spring day and were made most welcome in his sprawling home, studio and garden containing Bruce’s working studio and an outer building housing his archive of past projects.

 
 

Bruce originally studied philosophy during the political upheavals of the late 60s in San Francisco. He moved to England to study sculpture, blending the formative intersection of American minimalism and the more lyrical sculptural references practiced in Britain.

Bruce became interested in the potential of digital imaging. For some years his work has negotiated and searched for a relation between the digital and material. Using 3D computer modelling and transferring this data into material form has been a challenge rife with welcome conundrums and paradoxes.

 
 

During his time as a Senior Research Fellow at Central Saint Martins, Bruce undertook an AHRC funded project, Coded Chimera (2011), which explored the transformation grids of D’Arcy Thompson in collaboration with the Natural History Museum and the Computer Lab at Cambridge University. The convergence of zoological form and computational strategies was guided by a rather un-scientific and poetic concept: the chimera, a composite which makes a link with a long tradition in art where unfamiliar conjunctions act as repositories of our own imaginative projections.

 

Bruce Gernand with ncas member

 

ncas would like to thank Bruce for a wonderful tour through his philosophy and resulting work.

 
 

From Michaelangelo to Ryan Gander: Building the Royal Academy Collections. A talk by Hannah Higham Senior Curator, Royal Academy of Arts

Event date: 4 April 2025
Review by Janey Bevington

Hannah Higham at Norwich School Blake Studio

 
 

The Royal Academy of Arts (RA) surely must be one of the UK’s most iconic and well- loved institutions, but how much do we know of its history and its role today?

ncas members were treated to a fascinating overview and a deeper dive by Dr Hannah Higham, Senior Curator at the RA.

The RA was founded in 1768, with a petition to the King signed by 36 artists and architects seeking permission to "establish a society for promoting the Arts of Design". They were the original Royal Academicians. What’s more, they also proposed an annual exhibition (now known as the Summer Exhibition) and crucially, a School of Design. It is this aspect which sets the RA apart from other museums and galleries. As an Academy fostering contemporary fine art at their elite RA Schools, the RA not just promotes the appreciation and understanding of art, but also its practice.

 

The first RA President was Sir Joshua Reynolds; amongst other founding members were Mary Moser and Angelica Kauffman who flew the flag for women in 1768. Other past Presidents, notably architect Sir Edwin Lutyens and painter Sir Alfred Munnings, courted controversy with their public dislike of ‘modern art’.

Hannah explained the, now many, aspects of the Academy, the curatorial staff being only part of the vast number of employees. Others are involved with the international loan exhibitions that were started in the late 19th century. Prior to this, there was only the annual Summer Exhibition. There’s a vast PR staff and those involved with day to day running, plus teachers and students in their RA Schools.

Since she arrived, Hannah has been involved with displaying the teaching collection at the RA. She explained that the Life Drawing Room is one of the most important rooms in the RA and has recently been restored along with the reinstallation of the marble busts used as models by the early Academicians.

 
 

It showcases anatomical drawings, engravings by and after Old Masters such as Rubens, Van Dyck, Goya and Tiepolo; plaster casts after the antique and écorché casts from dissected bodies; photographs from Eadweard Muybridge (Horse in Motion) and copies after Old Masters including an 16th-century copy of Leonardo’s Last Supper.

Hannah illustrated her talk with stunning photos of some of this significant collection that includes works dating from the 18th century, ensuring that she picked out contemporary pieces for the discerning ncas audience! 

The RA vast collection is free to view and now contains about 935 paintings, 350 sculptures, 700 plaster casts, 25,000 prints and drawings and 5,000 historic photographs. The Collection's central focus is on British art and artists from the 18th century to the present day.  

 
 

The collection includes paintings by JMW Turner, John Constable, John Everett Millais, John Singer Sargent, Stanley Spencer, David Hockney and Frank Bowling; sculptures by John Flaxman, John Gibson, Eduardo Paolozzi, Elisabeth Frink and Yinka Shonibare; and architectural drawings by John Soane, Edwin Lutyens, Colin St. John Wilson, Zaha Hadid, Richard Rogers and David Adjaye.

ncas would like to thank Hannah for her excellent and beautifully illustrated talk and the Norwich School for hosting at the Blake Studio.

 

Hannah Higham with ncas Chair Chris Mardell

 


 
 

ncas Small Grants Awards: 2025 First Round Winners

ncas’ Small Grants panel is pleased to announce funding for two successful applications from this winter’s numerous submissions.

Funds of £500 each are provided to Cromer Artspace for an open-air sculpture exhibition at The Grove Hotel, Cromer, and to Alida Kuzemczak-Sayer and Freya Gabie for Thick Seams, an exhibition of site-related work for Hungate Medieval Art, St Peter Hungate.

In their proposal, Cromer Artspace demonstrate innovation in bringing open-air sculpture to new audiences at The Grove Hotel, Cromer. The proposal also includes plans for displays, workshops and educational events in the newly refurbished gallery space on the seafront.

For their project at Hungate Medieval Art, Norwich, Alida Kuzemczak-Sayer and Freya Gabie propose a contemporary and collaborative response to the historical location and context of St Peter Hungate. Both artists will be ‘in residence’ at St Peter Hungate, where they will engage in conversations and workshops with visitors.

The next Small Grants deadline is midnight on Sunday 31st August 2025. Details and application form can be found on the ncas website.

“I go into the world with an open mind”. A talk by sculptor Sir Richard Long CBE, RA

Event date: 25 February 2025
Review by Danusia Wurm

 
 

Circle in Africa. Mulanje Mountain, Malawi, 1978

 
 

Imagine a slowing down of time. Imagine “seeing” stillness. Imagine the celebration of a journey’s end.

This was the experience of the sell-out audience at Sir Richard Long’s fascinating and magnificently illustrated talk, which took place at the Norwich University of the Art’s state-of-the art auditorium.

Richard Long has been at the forefront of land art for more than half a century. A pioneer of conceptual practices in the 1960s, his expanded approach to sculpture has consistently taken the medium out of the studio into the natural world and around the globe, using time, space, distance, navigation, perception, the elements and the geological forces that have shaped the landscape around us as both his tools and his vocabulary. Long has sited sculpture on all five continents, as well as in many of the world’s most significant galleries and museums. 

 
 
“My work has become a simple metaphor of life.”
— Sir Richard Long

Long’s practice involves walking great distances in the wilderness, then pausing to make works referencing natural and cosmic phenomena experienced along the way. He uses walking, therefore, as both medium and measure, and his works act as a direct response to the world in which he lives. This way of working offers the potential to make sculpture anywhere and at any time, free from the constraints that can otherwise arise with producing art.

Using earth, rocks, sticks and other natural materials and forces ranging from water and gravity to clouds and constellations of stars, Long leaves a mark or arrangement within an ever-shifting elemental terrain that exerts its own laws of regulation over the end-result. This is his way of expressing ideas about time and space, and what it means to be human when removed from the cacophony of contemporary life.

 

People constantly ask Long ‘why always circles and lines and walking?’

“Every place in the world is different, so even though I might be repeating circles, every circle is different. The archetype of the circle emphasizes the cosmic variety of everything, and this gives it its power, beauty, understandability, and resonance”. 

 
“I’m not a political animal.  I’m an artist animal. ”
— Sir Richard Long

Given his affinity to the natural environment, people also question whether Long is an environmentalist.

Long says “Green politics wasn’t really invented when I started. My work comes out of wanting to make art in new ways. The world outside the studio represented a fantastically colossal opportunity to engage with the physical world. It was my interest in making new art that took me into the landscape. I’m not a political animal. I’m an artist animal. But obviously my work does celebrate nature and the wonderful landscapes that cover most of the planet.”

 
“I wouldn’t be the artist I am without a camera”
— Sir Richard long
 

The simple majesty of Long’s physical sculptural works is matched by his remarkable photography, which records it for posterity.   He says “I wouldn’t be the artist I am without a camera. It’s a bridge to how my works find their way into the world.  You know what I do because I have shown you what I have done”.

Long’s accompanying words describing his philosophy and art work, realised in numerous books, are equally as powerful. Perhaps put at its most eloquent, he says “I go into the world with an open mind”.

ncas would like to thank Richard Long for his totally absorbing narrative and Norwich University of the Arts for hosting and their excellent help on the day.

I would also like to namecheck Nicolas Wroe, Patrick Barkham and Ina Cole whose excellent articles I have sampled. 

 

 

Money for Old Rope. Rejacketing the Classics at Penguin Books and Beyond. A talk by David Pearson

Event date: 13 February 2025
Review by Danusia Wurm

 
 

Poster featuring David Pearson for Melbourne Writers Festival 2015, David Pearson

 
 

In a lively and beautifully illustrated talk, acclaimed book designer David Pearson took us on a fascinating journey focusing on the creation of a book cover from original concept to the final product, with many intriguing diversions along the way.

Graduating from Central St Martins in London in 2002, David cheekily blagged a job at Penguin Books where he worked as a text designer and later, cover designer. His cover design for Penguin’s Great Ideas series in association with fellow designers Phil Baines, Catherine Dixon and Alistair Hall, earned him international recognition, as did his wonderful covers for French publisher Éditions Zulma.

 

He left Penguin to establish his own studio in 2007 where he has since worked with some of the world’s leading publishers and authors including Margaret Atwood, John le Carré, Cormac McCarthy and George Orwell.

David specialises in print-based design. Like an artist, he works with lettering in an expressive way, seeing letters as “individual characters” on the page. His craft is to “lead the eye around the page” and then - the big leap - from the front cover onto the first page.

 

Describing the process, once he accepts the brief (note: David never gets to choose his books) his first step is to set certain parameters and limits. “Book design is at its most fun when you’ve got something to kick against”. But the core elements of good design, clear vision, coherence, and an ability to convey a story, always remain.

Perhaps fostered by too much time spent in Penguin’s vast archives in Rugby as a young intern, David positively relishes the meticulous research into suitable period titles, fonts, words and images used to give the cover context, imbuing it with the right look and feel. The cover might be text or illustration led. As illustration isn’t David’s forte, he is in the happy position to employ illustrators that he admires and has always wanted to work with.

 

The collaborative process with illustrators, fosters innovation and imagination. Creating a different visual language for each book is hugely stimulating. And as someone who enjoys “spinning plates”, David is happy exploring a different approach every time.

Looking to the future, David is optimistic about the world of books be they material or in the ether. To this end, he acknowledges the huge significance of social media. “Tic Toc has made reading cool” he says. Additionally, he cites the growth of Zine culture, which is exciting and accessible, as helping support book sales. Successful “cover reveal” launches on Instagram can hugely influence sales. You heard it here first... authors now care about their book covers!

 

Right to left: David Pearson with Andy Campbell, Norwich School, Blake Studio

 

ncas thanks David for his superb insight into the world of book design and Norwich School’s Andy Campbell for his introduction and excellent Q&A.

With typical modesty, David didn’t mention that he has been listed as one of Britain’s Top 50 Designers by The Guardian, is a member of the prestigious international association Alliance Graphique Internationale (AGI) and in 2015, was appointed Royal Designer for Industry, the highest accolade for designers in the UK. He is also founder of The Book Cover Review.

Cromer Artspace on the Prom shines a light in the February dark

ncas Trustees Janey Bevington and Danusia Wurm were warmly welcomed by Ruth Brumby and other members of the Cromer Artspace team, local painters and supporters, at the formal re-opening of the beautifully refurbished Cromer Artspace on the Prom.

 

Ruth Brumby with Steff Aquarone MP

 

Thanks to funding from Ørsted and the North Norfolk Rural Business & Community Grant, the Cromer Artspace has been given a new lease of life, including lighting and heating, enabling a greater range of art and art based activities and lengthening the time the building can be used into the evenings and the winter.

For details of Cromer Artspace's exciting 2025 programme of events, click here