Staff on the course

Peter Symons

BA fine Art, MA fine ART,PGCE

Biography

Peter is a Fine Artist,and current a senior lecturer on the BA ( Hons ) Animation Production course   at the AUB.   He has been a practicing artist since graduating from the Slade School of Art (UCL) and has exhibited in the UK and abroad. While living in London he worked for the ILEA as a part-time director of a community centre in the east end of London (Montefiore) and occasionally for the education department of the Whitechapel Art Gallery whilst under the directorship of Sir Nicolas Serota.   His work for the AUB has included: Course Leader for the BA Animation Production course (11 years to June 2018)  Visiting Tutor, Senior Lecturer and Co -Director of the (Creative skillset) Screen Academy. Peter has been a Governor for Avonbourne School Bournemouth and a Trustee of the Vita Nova charity.He  was the staff Governor on the AUB board for 4 years ending July 2018,and is currently a trustee of the Charitable Foundation of the AUB.   During his tenure as  Course Leader he has taken the Animation course through two successful periodic reviews and has helped to develop it into a growing and continually successful award-winning course that attracts increasing numbers of students each year. During this period Peter and his co subject area lead Paul Ward have overseen the year on year increase in industry engagement and employment of industry professionals as part of  the course team and as visiting lecturers. His practice as an artist informs his teaching across the visual studies elements of the course specifically observational drawing and painting. He has been central to the development of the high standard of the  teaching and learning in drawing for animation experienced by the students on the course .  

Professional practice

External reviewer for MA Animation and Digital Effects (ACES) Sheffield Hallam University Co- Chair  Refitting the Super-tanker’ – Incorporating Industry Experience into Course Structures. Creative Skillset  conference  Glodsmiths London    Chair of 3 Validation panels AUCB events: .Photography, Fashion and Digital Media Production. Panel Member on Validation of Institute courses, both institute and school panels. ePDP4life : Delivered a paper in November 2005 for a JISC funded project ePDP 4 life (as advisor in the Creative Industries). Partnership headed by Bournemouth University. Produced a paper for presentation in April 2007 on the Creative industries’ response to PDP and ePDP4life. Partnership headed by Bournemouth University. Presentation of personal academic research /practice for the Meeting Place exhibition. Russell Cotes museum and gallery Bournemouth 1st December 2007

Professional memberships

  • Fellow of the Higher Education Academy

Awards

  • Amy Friedlander Award for Art (1980)

Grants

  • Arts Council England Grant for an individual Artist (2005)
  • Research and scholarship award, The AIB Bournemouth (2002 & 2006)

Research Specialism

Peter delivered a research Paper on ‘The continuing importance of collecting research through direct observational drawing on location in museums’ in June 2018 at the RAI/British Museum/SOAS Art, Materiality & Representation conference at the British Museum and SOAS .The panel was one of the ‘Drawings of, Drawings by, and Drawings for’   panels led by Ray Lucas.

Peter’s professional practice includes  Painting , Drawing and experimental film making. Artist statement : ‘My work investigates the idea of creating animated portraits of places, landscapes and environments and our relationship to them. The films explore the ordinary and mundane, capturing light, shadow and time .The rotation of the planet and the climatic conditions direct the action and determine outcomes. The process of making these films is stop motion, capturing the images one at a time. The spaces between the individual privileged instances are abstract time not constrained by the mechanical process of the cinematic camera (and the uniformity of time that this imposes). In my films the spaces between frames are variable, created at the time of shooting, this produces an ambiguous temporality when projected at 25 frames per second. The films capture imperceptible events showing what the eye does not always see or have the patience to recognize. The work is about the feeling of the place and it’s relationship to the environment and not directly about the function or previous function of the building or space. The resulting work finds the ethereal magical beauty of the intimate spaces not immediately apparent and only discoverable over a prolonged period of looking and recording one frame at a time, capturing and re examining the temporality of the unseen experience.’

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