這個年代還有拜師學藝這回事？沒有課程規劃會生出怎麼的課程？來參觀「大C承傳 藝術教育計劃在火炭 2020 師生作品展」，與火炭的藝術師徒會面，便能解答以上疑問！此展覽由45名藝術家和學員共同協作，於2020年1月4、5、11、12日，在10間火炭藝術工作室進行展覽，與公眾分享師生創作成果。
Does apprenticeship still exist or work? What can be taught without formal curriculum planning? Come and visit “Project C Art Education Programme @ Fotan 2020 Exhibitions by Instructors and Students” to meet our Fotan artists and their students. You will find out! The exhibitions will be held by 45 artists and students on 4, 5, 11 and 12 January in 2020. They will display their artworks at 10 Fotan art studios for the public.
Courses designed based on students’needs
More than 30 students were admitted in“Project C Art Education Programme @ Fotan" to explore art with 10 Fotan artist last year. Without a prescriptive syllabus, defined learning objectives, specified class time and a teaching location, the artists designed the courses flexibly, according to the needs and interests of the students, respecting the uniqueness and creativity of each individual and together they achieved a variety of satisfactory results. For example, Amy Ng’s course was designed to explore the basic skills in woodcarving including embossing, openwork and round sculpture. Students joyfully gained new insights into this kind of art. Phoebe Man's students had their creative directions, tea art and performance art. They only needed to further develop their artworks and did achieve breakthroughs of different hues. Here, free design was suitable. In addition to other special teaching methods, MA Kwai Shun and his students used the typhoon Mangkhut as the theme of the creations. Artists Co-op and students explored sustainable development issues and invited more than a dozen artists to share relevant creative experiences. This shows that the teachers can provide a flexible mode so that students can have different learning experiences.
Instead of following the style of the teachers blindly, the students developed their own styles of art with adequate guidance and support. They used art as a media to explore different ways of communication: communication with themselves, communication with the others, and communication with the society. Kwan Tat Keung’s mobile phone photos accurately captured the pulse of the city. Illustrations of Sunforever are healing. The damaged trees in the paintings of Olga and Steve never die. The yellow-black paper cranes and the free-flowing ink paintings are responding to the times. The performance of Cynthia (Siu Fei) is sincere and autobiographical. Students’ works can move people. Although not every piece of work is highly skilled and beautiful, we can see that some of the works are generative, diverse and rich. Their inputs and efforts are moving.
There were no straight admission requirements for the program, which attracted students with diverse backgrounds. The 35 students are aged from 18 to 67 years, and their occupations are distributed widely over various fields, such as artists, teachers, retirees, marketing planners, accountants, tattoo apprentices, social workers, etc. Due to limitations of working and living conditions, Simon was not able to develop his art career when he was young. Through the program, he fulfilled the dream of learning art after he retired. He reconstructed his garage into an art studio and invited other classmates to come for exploring creative skills. He even tried to use a peeler for woodcarving, which brought lots of fun. Kwan Tat Keung explored numerous photography styles and techniques continuously; however, he has had difficulties in developing his own unique style. Luckily, he gradually found his direction through interactions and communication with the teacher and other artists. Some young students gained insights on the future direction of their career paths, study plans and art creation. It is comforting, almost blissful, to see the students finding different possible paths that their lives can follow, after attending Project C.