Meet Sean Mullan
How did you end up studying at Wimbledon College of Arts?
I left my home in Ireland to study a foundation at Plymouth College of Art in 2010. During my time studying there I made a few trips to London to see the hype. After an open day at Wimbledon and reading about the reputation of the Sculpture course I knew it would be an amazing place to study. I was contemplating studying between two contrasting locations, Falmouth and London. So I found Wimbledon perfectly located with a great course and a very hospitable atmosphere.
Were you always interested in sculpture?
I always had an attraction to physical tactile objects, things I could squeeze, mould, stack or feel. But I think my interest in sculpture came at a later age, as there was a lot I didn’t realise or understand to what sculpture could or can be.
What were the biggest challenges you faced during the course? And how did you overcome them?
I suppose they were personal ones. Ones regarding things like; publicly voicing ideas in crits, over thinking concepts and approaches to making work. I worked my way around these problems (that I don’t really consider problems because they helped me) by looking into ideas of failure, humour and preciousness towards making work. Although, that’s not to say I had no cares or I was being facetious. If anything it gave me the ability to be in the most serious mind-set I’ve ever worked in.
Would you recommend the course?
Where do you live? Does where you live inspire you?
Haggerston, London. Yes but depending on the day it does the complete opposite.
Tell us about the work that got you selected for the Catlin guide…
I’m not exactly sure if there was a specific work that got me selected for the guide. I think that’s the ethos of the Art Catlin Guide’s curator Justin Hammond. The selection, of course considers the current work of the artists but also his/hers ambition, dedication and potential of direction. So I believe it’s a combination of my current practice and where that work is leading me in 2015.
Where/how do you see yourself progressing from here?
From here, I just want to continue ingesting the mass of information, books, films, essays, experiences and everything that I still need to consume. Alongside this, I’m eagerly looking forward to our group exhibition of the Chisenhale Studio’s Programme ‘Into The wild’ coming up in late March.
In April I also have a one month studio residency and solo show at fellow Wimbledon Alumni Rosa Nussbaum’s ‘Nice Gallery’ in Merton Abbey Mills, South Wimbledon.
After the ‘Nice Gallery’ period, I will then be making tracks in late April to Cumbria to install a group show with a mixture of current Wimbledon students and alumni. This exhibition resonated from a weeklong residency with Grizedale Sculpture in September last year.
After that I’ll have something else to do.
How are you supporting yourself while working?
Over the years I’ve been slowly building up my own equipment to provide me with the flexibility to work independently on the initiating stages of projects. This has been a great support to get things rolling. I also work at the Mall Galleries as a technician. This job supports me both financially but is also an investment of time, something I carefully considered. I’m learning practical skills that can translate into my practice and the requirements that surround it. Of course, I want to give acknowledgments to the support of my family and friends both here in London and at home in Ireland.
There are still places available on BA Fine Art: Sculpture at Wimbledon. To find out more about the course, please visit our course pages.