Jim Thrower - Technical Coordinator 2D
Tell us about yourself…
Having worked at the College for over two decades in a number of roles I’m currently Technical Coordinator managing 2D resources.
What's your background?
After serving time at a brutal inner city comprehensive (now mercifully shutdown) my escape south was only briefly interrupted by a stopover at a redbrick to study Medicine, where dyslexia triumphed. Opting for the less ‘academic’ route led to studies in Sculpture at Wimbledon School of Art and the Royal Academy. Wimbledon sculpture was in the grip of a cult who enforced a rigid house style, a type of formal figuration; at the Academy as one of the charity cases, existing on scraps surrounded by privilege, I fared no better. Neither of these experiences was a preparation for the outside world and certainly not for the winds of change blowing through the British Art scene in the mid 80’s. Burdened by large debts and my only access to the intergenerational transfer of capital being a set of questionable values rooted in post war cultural evangelism, I shelved my embryonic practice and took paid work in education and the creative industries. Here, perhaps in an attempt to compensate for learning difficulties, I developed an impressive but disparate range of technical skills to trade with.
What do you love most about your job?
I was never any good at providing winning answers to competition questions, having never owned a bumper sticker or eco bag, I am not confident using the word love outside the context of human relationships.
What's your favorite thing about Central Saint Martins?
It’s tireless ability to metamorphose.
Who or what is your biggest inspiration?
Ōbaku Zen and its architecture, the manner in which structural and decorative elements resolve is such a contrast to the design decisions in rent-slab going up all around us at King’s Cross.
Who's your favorite artist / photographer/ designer/ director…?
I’m assuming that at some point during my childhood I must have engaged in hero worship, but can’t recall who its objects were or why. I'm fascinated by producers of real Arte Povera, invariably unknowns, creative and resourceful outside systems of validation.
What advice would you give to new students?
Feed the mind, listen to the gut and nurture a healthy doubt.