 |
| Timothy Hyman Mid-River: The Bearer 1995-98 oil on board (diploma work) Royal Academy of Arts, London |
"Hyman's re-imagining of St Christopher carrying the Christ Child across a river is set on the Thames in London, identifiable by the outline of Tower Bridge in the distant background. The colossal St Christopher figure is in fact a portrait of writer John Cowper Powys, whom Hyman felt had 'shaped' him, while the Child takes the form of a 'seraphic' presence, aiding the artist during a difficult period."
 |
| John Carter Four Diagonals 1996 acrylic with marble powder on plywood (diploma work) Royal Academy of Arts, London |
"Like most of Carter's work, Four Diagonals is a 'wall object' – a shallow sculpture based on abstract mathematical formulae. The artist has described his work as 'an extension of painting into three dimensions.' The pieces begin as notebook sketches, moving on to larger, measured drawings, before proceeding to final construction."
 |
| Richard MacCormac Design for Ruskin Library, Lancaster University 1996 hand-colored print (diploma work) Royal Academy of Arts, London |
 |
| Patrick Caulfield Moroccan Red 1997 acrylic on canvas (diploma work) Royal Academy of Arts, London |
 |
| Barbara Rae Winter Light, Lammermuir 1997 acrylic and collage on canvas (diploma work) Royal Academy of Arts, London |
"Barbara Rae began with a drawing made at midwinter in Scotland's stark Lammermuir Hills. The painting was later executed during one working session in the studio. She described her perception of the landscape, with 'some incredible sunset-quality colours: inky blue, pale mauves and lavenders, pink fluffy clouds. Obviously strong rose and purple were not present – but the feeling, the atmosphere of pink, indigo and purple were there."
 |
| Peter Cook Design for Medina Circle Towers, Tel Aviv 1997 hand-colored print (diploma work) Royal Academy of Arts, London |
"According to Peter Cook, 'I could not have imagined making the project for Medina Circle Towers in Tel Aviv without the extensive use of colour. It is not that the sky in Tel Aviv is red; rather that the warmth of the climate and the wish to articulate the profile ran together with a semi-conscious statement about the volatility and entrepreneurship of the locals. Moreover, the red colour establishes a palette that can incorporate shades of blue, purple and a kind of pink that serve to illustrate key constituents: windows, screens, sun blinds and shadowy interior forms."
 |
| Nicholas Grimshaw Design for Waterloo International Railway Terminal, Lambeth 1997 hand-colored print (diploma work) Royal Academy of Arts, London |
 |
| Basil Beattie Never Before 2001 oil and wax on flax (diploma work) Royal Academy of Arts, London |
"Basil Beattie is both a painter and printmaker who first trained at West Hartlepool College of Art from 1950 to 1955 and then at the Royal Academy Schools, where he was influenced by the work of Walter Sickert. In 1958 a Tate Gallery show of New American Painting – which included work by Mark Rothko, Jackson Pollock and Sam Francis – proved a liberating experience. Other students at the Royal Academy Schools such as John Hoyland and Paul Huxley also shared his enthusiasm for the work of the Abstract Expressionists – with however little success that brief New World trend was ultimately to be translated by Old World practitioners."
 |
| Eileen Cooper Peace 2001 linocut (diploma work) Royal Academy of Arts, London |
"The artist has said that linocuts and woodcuts, rather than more complex printing processes such as etching, are particularly important to her 'because drawing underlies everything I do. With those, you are just drawing directly in the block with a tool."
 |
| Tess Jaray How Strange 2001 oil on linen (diploma work) Royal Academy of Arts, London |
"Jaray wrote about finding the colour in the essay 'Red: Diary of a Painting' (published in her book, Painting: Mysteries and Confessions). Initially stating 'it has to be cadmium,' Jaray later reconsiders: 'the red I want is vermilion. The vermilion of the red scarf of Ariadne in Titan's Bacchus and Ariadne; of St Jerome's robe in Masolino's St Jerome in the National Gallery, in Bellini and Vermeer, and thirteenth-century Japanese paintings on paper or silk."
 |
| Alison Wilding Stealth 2 2001 steel and inked paper (diploma work) Royal Academy of Arts, London |
"Sculptor Alison Wilding has long divided her activity between wall-based works, such as Stealth 2, and floor-based works, accepting that the two orientations are receptive to different forms of activity."
 |
| Eric Parry Design for 30 Finsbury Square, London ca. 2002 drawing (diploma work) Royal Academy of Arts, London |
"Parry's use of stone under varying pressures, as if it were post-and-beam construction from the days of ancient Greece, led a friend of his to describe it jokingly as 'high-tech Stone Age.' Parry created the drawing of the final design for the 30 Finsbury Square project as the conclusion to a long succession of studies drawn by hand, his preferred method of working. 'There is a bone of a computer drawing underneath it,' he related in conversation with Dr Neil Bingham, referring to the need to use a computer for working out such engineering aspects as stress and load. But once these factors were in place, Parry took things forward to the next stages by making hand drawings."
 |
| Lisa Milroy Frolicking Geishas 2002 oil on canvas (diploma work) Royal Academy of Arts, London |
 |
| Stephen Chambers Shack Life 2003 etching with chine collé (diploma work) Royal Academy of Arts, London |
 |
| David Mach Gargoyle 2003 fiberglass, stainless steel, found materials (diploma work) Royal Academy of Arts, London |
 |
| Ian McKeever Sentinel X 2003 oil and acrylic on canvas (diploma work) Royal Academy of Arts, London |
"McKeever believes that 'our lives are now flooded with images which remorselessly bombard us with what we 'should' know, and which steal our time. Perhaps one of the things which paintings can do for us, if we are prepared to be still in front of them, is to give us back our own sense of time and the independence that goes with it."
 |
| Lubaina Himid Naming the Money 2004 acrylic and collage on paper (diploma work) Royal Academy of Arts, London |
– quoted texts adapted from Royal Academy notes