After completing his MA at Chelsea School of Art Richard emerged as a curator in London by initiating a new project and gallery space above the infamous nightclub, The Blue Note, in Hoxton Square, Shoreditch London. Richard worked with artists such as Tracey Emin, Cornelia Parker, The Chapman Brothers and Gary Hume. He has exhibited and curated widely, including performance art events for the ICA, The Mall, London. He has a Masters in Fine Art Painting from Chelsea School of Art and a First Degree in Fine Art from Cardiff School of Art. He has worked at Cardiff School of Art and Plymouth College of Art and is now the course leader for the BA (Hons) Fine Art Degree at the Arts University Bournemouth. http://www.richardwaring.co.uk
PhD I am currently undertaking an Educational Doctorate in Creative and Media.
Teaching Enriching the student experience is central to everything I do, it’s the initial reason why I entered teaching and its still the reason why I enjoy working in education. During my career I have led several large courses and managed an art and design faculty. I have broad teaching experience at many levels and teach a range of topics:
- Photography, both digital and analogue
- Research methodologies
- Educational study visits
- Initiating new international student projects, creating networks and research opportunities, current projects are in Milan, Venice and Athens.
- MA External Examiner at UCA (University for the Creative Arts) for MA Fine Art and MA Curatorial Practice.
- Senior Fellow of the Higher Education Academy (SFHEA)
- Foundation studies examiner for 5 years; Falmouth, Truro, Swindon, Bristol, LCC.
- Certificate in FE teaching qualification
- Senior Fellow of the Higher Education Academy (2016)
- Member of National Association Fine Art Education (NAFAE) (2012)
There are two strands to my research, my art practice and research into teaching.
I investigate the compression of space into surface and other compositional devices. There are two main ways in which I do this, by painting on a flat surface and by working on audio-visual live projects.
Transmission, a new ACE and AUB funded work by Waring and Hutchings, re-envisions Anthony Caro’s sculpture, Sea Music, as an 8-minute long performative spectacle. In Transmission, the sculpture becomes a stage for a new work combining projection, sound and movement.
Excerpt from press release by Liz Orton:
‘The work plays with the multiple meanings of scan. To scan is to search; to traverse; to resolve for transmission; to analyse the rhythms of sound; to convert into digital form. This conversion, the transformation of objects into numerical code, has enabled the digitisation of archives, libraries and collections across the world. The scanner is like a vast universal eye flicking through space, translating everything in its field into signals. These signals, compressed and stored as bits and bytes, can be called upon at any time to reveal the world as an image.
For a long time, starting from Plato, it was believed that the eye itself was a source of light, making the world visible through the emission of its beams. Waring’s gesture connects us to these ancient ideas of seeing: the Platonic eye roaming the world with its rays. His projected pulses of light transform the dimensional world into the planar world, framing and recomposing the sculpture as an image.
This becoming image enacts a dimensional loss – the collapse of volume into surface.’
Sucking in the light, intensely matt, creating a surface void that the eyes can’t easily locate. I test the curious relationship between support, colour and space inherent in the picture plane. Hue, tone and saturation are very carefully employed to allow the eye to shift between the painted spaces; meaning that the space within the painting competes for equal attention, losing the sense of foreground and background, no space has been privileged. The paintings float just a few millimetres off the vertical wall space. This, along with the brush marks and use of colour, suggests an expanded visual field that opens up the plane beyond its hard edge, making the viewer very aware of the surrounding wall space.
I am conducting research into teaching by investigating the impact of an artist’s practice on their teaching practice. Asking how do we maximise this? What could be considered best practice?
Is it possible to devise a ‘tool-kit’ to best extrapolate the key ingredients from an artist’s multi-faceted practice and translate this into a student workshop?
I am able to supervise as part of a supervision team having undertaking the Post Graduate Research supervision course at UAL (University of the Arts London)