My piece, ‘Drugstore Photographs’, consists of more than 26,000 photographs I took over a period of three years of Lower Manhattan before 9/11. They were shown at PS1 MoMA in New York, and The New York Public Library purchased them for their photography collection. They created a website for my photographs which can be seen online in their digital library.
My massive wall-sized watercolour, ‘Barbara and David Stone's Bookshelf’, is a detailed painting of my parents' book collection and was purchased by the Museum of Fine Arts in Houston. It was shown in London at Gimpel Fils Gallery and in New York at the Nicole Klagsbrun Gallery.
I am currently developing two feature films, one in London starring Maureen Lipman, and the second in Cheshire about the childhood and adolescence of a punk drummer.
In August 2013 I directed a short film, ‘The Magic Lantern Along the Pennine Way’ with the musician and songwriter Tim Eriksen and the painter Susan Brearey, about three artists who go to the mountains where Constable painted his cloud studies.
My BA in Fine Arts is from EINA School of Art and Design, Barcelona, and my MA in Fine Arts is from The School of Visual Arts in New York City.
What I teach:
We look at 35,000 years of art from Neo Palaeolithic to contemporary art from around the world. We also look at 150 years of cinema through film clips and storyboards. We look at how artists through the centuries tell stories through the imagery they make.
Whether it is the French Rococo and Boucher and his highly sexualized paintings, or 1970’s performance by Carolee Schneemann who uses her body to make art. Or the extraordinarily sad Disasters of War by Goya, and how Zoran Music retold the same horrors of war by risking his life in the Dachau concentration camp by making drawings. We also look at the grotesque reflections of human nature through the performance art of Paul McCarthy and of course, the joy of art in Niki de Saint Phalle and Jean Tinguely.
We look at hundreds of artists and how they look at the world.
Through storyboarding, we draw and understand the foreground and background composition of the frame. As we look at the history of storyboarding from the beginning of cinema we discover the importance of drawing and the preparation of a production.