Sian Davey

visiting lecturer in plymouth university

‘looking for Alice’
‘the river’

  •  take camera everywhere
  •  make all work personal
  • photos have to have a deeper understanding, make sure you understand your pictures – why have you taken it.
  • what are you hoping to achieve, what do you want people to understand
  • communicate experiences
  • use eyes as a reflection – an invitation to truly look at yourself
  • authenticity

assignment process

Research – study and investigation into artists/ techniques/ technology/ concepts/ practice requirements/ legislation.

Development – ideas/ concepts/ experiments/ skills/ understanding/ work.

Realisation – bodies of work, printed outcomes/ skills/ understanding/ written work.

Reflection – evaluation, critical thinking about what has been produced and what has been learned.


  • photography interlaced practice of creativity, technology, expression, aesthetics and new media.
  • driven by curiosity and desire to experiment, create and find out about how the visual world operates.
  • openness – sharing, open environment embrace collaboration.
  • use social media to share your creativity.
  • transformation – how the world is represented, forms of significant port of how we understand the world.
  • anticipate the future of imagining explore and re-purpose the imagining of the past.
  • Exploration – ask the questions we can’t answer.
  • Photography has a dual function of distraction and entertainment. On the one hand and has a tool of discipline on the other.


Marcus Davies

  • documentary photography (black and white)
  • go out of your comfort zone – go past the first space – talk to people and get in further than the outskirts.
  • auto chromatic film – non sensitive to red light – best on a sunny day – high contrast
  • Mario Jaquamelli
  • slide film
  • photographers in galleries
  • division of space

visiting lecture


  • don’t need to be tied down to a medium
  • ideas shaped by family/ friends/ society
  • doesn’t have to be anything good – can be complete rubbish
  • timing and lighting mean everything – pictures on film – positions place yourself in a way to create different perspectives
  • life is your best ideas and inspiration – keeps you motivated and personal as it is personal to you
  • Herman Leonard ‘Billie Holiday’
  • David Macey – ‘Lancan in context’
  • house that is run down – work/ house that is the work – David Island – Capp street project
  • My typography 1, 2 and 3

Thom Atkinson

visiting lecturer in Plymouth University

‘missing buildings’

  • use your imagination – doesn’t have to be true
  • what are you really interested in?
  • if you like a photographer – chase them – (photography assistants)
  • make time for your own photography  – that you enjoy
  • pictures don’t always have to make sense
  • start with feelings/ get to the ideas later
  • say things with pictures not words
  • don’t have to understand your projects / work / do it on feelings and just because you want to…
  • do something that years ago would have been drawn – do it years later your own way… e.g. – drawing a bomb / damaged buildings after an air raid – years later doing the same things except with a camera.

Nigal Shafran

a visiting lecturer in Plymouth University

  • strobe lighting
  • plate cameras
  • too dark and dark contrast can still be effective
  • work doesn’t need meaning

‘ruth book’

‘dads office’

‘edited photographs’

‘flowers for’

‘dark rooms’

  • polaroid – date and what is happening ( a way of recording process)
  • use photographs like a diary
  • all started on a whim
  • didn’t matter how good photos were – just i they fitted with concept – meaning behind them..
  • always write down camera used – with lens – to record process – to remember how that image was create
  • use objects in pictures that help date the book.
  • ideas for covers – doesn’t matter where you get inspiration from – film covers
  • don’t have to have smart titles – can literally be describing
  • badly shot pictures can have meaning
  • always good to include quotes – walker Evans, Agnes Martin
  • everything around you effects you

Artists in residence


  • time and space away rom your usual environment and obligations.
  • time and reflection, research, presentations and/ or production
  • allows individual to explore his/ her practice within another community
  • meeting new people, using new materials experiencing life in a new location

Historical perspective

  • early 20th century
  • art loving philanthropist
  • US and Europe (Germany)
  • 1960s – new models emerged : seclusion or involvement (sense of community, social engagement)
  • 1990s – globalisation – much more world wide – easier to travel.


  • linked to organisations, museums, galleries, universities
  • some solely exist for offering residency places
  • national/ international
  • length vary greatly – minimum 2 weeks – can be as long as 2 years
  • different disciplines

Eligibility  –

  • Age – varies greatly – no younger than 18
  • country of origin – some are vary specific – ( only want people from a specific country) others its not so important


  • some residencies are invitation only
  • A plan outlining your work during the residency : concept, context, methods, outcomes
  • usual requirements: proposal, CV, resume, artist statement, portfolio, letter of recommendation.

Funding/ Finances

  • self-funded
  • part-funded
  • fully-funded
  • stipend
  • crowd-funding


A residency should be a beginning, not an end.








critical writing challenge




A list of inspiration.

1 –  My mum

2 –  Mine and my mums cake hobby

3 –  Rothko

4 –  nature – Orlie common – Ipplepen / stover country park / Walls hill – Torquay/ Staverton

5 –  The seaside

6 –  My house

7 –  My family and friends

8 –  My dads house

9 –  Totnes

10 – Line, texture, tone of different objects

11 – Sophie Calle – ‘Take care of yourself.’

12 – Going out most nights in the week and helping the homeless in Torbay