Brian D Hodgson Private View
Brian has been one of the most important tutors during my time at Camberwell, and I feel truly fortunate to have met him. He is incredibly patient, kind, and generous with his knowledge. Before coming to Camberwell, I had no experience with printmaking, but Brian introduced me to etching and guided me through the process with great care.
I’ve spent a lot of time in the etching workshop, where he has taught me a wide range of techniques—not just in printmaking, but also in aspects of curation. His support and insight have had a strong influence on my practice, and I can clearly see his impact reflected in my work.
I had the opportunity to attend his private view and was deeply moved by his prints. I’m especially drawn to his use of colour and the sense of natural force in his imagery—his work feels powerful, yet quiet and meditative. He often shares his creative process with me, telling stories about working from nature, sometimes even sketching or gathering materials from cliffs or the landscape at night. His connection to the natural world and the organic energy in his prints continue to inspire me deeply.
Brian in Private View
Brian art works
Rachael Causer Private View
Rachael Causer visited our classroom to give an artist talk, and I was deeply inspired by her work. Her sculptural practice is grounded in material exploration, focusing on how objects break, scatter, dissolve, and transform over time. She often investigates traces left behind by touch, repeated actions, and labour—bringing attention to overlooked elements in a forensic, poetic way. Her work reflects on the subtle evidence of daily life: crumbs on tabletops, scarred workbenches, woodworm-eaten furniture, mended holes, and other intimate residues of human presence.
Her artistic concerns closely align with mine, so I was grateful to have a one-to-one tutorial with her. I asked whether she has a clear vision before beginning a sculpture. She told me she doesn’t—her process is intuitive and exploratory. She described it as a kind of play, where the work emerges naturally until she feels it’s time to stop. Her approach—embracing the unknown and trusting the process—was incredibly inspiring to me and has encouraged me to be more open and experimental in my own practice.
Rachael’s sculpture
Rachael’s sculpture
Rachael’s Drawing
Rachael’s Drawing
Fay Ballard Private View
Fay Ballard visited our classroom to give an artist talk, and I was truly drawn to her work. Her drawings are divided into three main categories: Circles (2019–present), Autobiography (2009–2018), and Plants (2000–2009). I was especially captivated by her Circles series, which is her most recent body of work.
These pieces are inspired by Neolithic sites, particularly the ancient burial mounds of Newgrange and Knowth in Ireland, which are around 5,000 years old. Her deep interest in archaeology is a major influence in her practice, and I found her way of connecting ancient history and personal artistic expression both powerful and inspiring—especially as I share a similar fascination with archaeology in my own work.
Fay Ballard’s drawing
Fay Ballard’s sketchbook
Fay Ballard’s drawing