The National College of Art and Design (NCAD) is an independent Art College comprising four faculties, Fine Art, Design, Education and Visual Culture. The NCAD offers BA, MA, and PhD programmes. The Art and Design curriculum predominantly engages a constructivist, experiential model of pedagogy, within studio and “real world” learning environments. NCAD selectively collaborates with external educational, public, private, state and international partners. The NCAD glass programme is student-centred and has been greatly enriched through collaborations with; Creative Europe: ISGNE; Erasmus; Fulbright; Southern Illinois University; Corning Museum of Glass; Pilchuck School of Glass; Pittsburgh Glass Center and Bildwerks in Germany.
The main focus in the ISGNE project is the evolving of rich collaborative multivalent contexts towards informing pedagogy, discourse and professional practice(s).
Creative Europe ISGNE: NCAD Project Director.
Collaboration is a professional core value. The Creative Europe ISGNE project provides partnership opportunities to become involved in creating and redefining relationships and opportunities both locally and internationally.
We have been looking at potentials for transnational mobility, audience development and sustainable studio practices. ISGNE enabled NCAD to undertake a dynamic schedule of cultural events, workshops and the creation of publications, in an exploration of glass within
critical contexts of intangible cultures, design, visual and applied arts.
NCAD presented the 2019 Ireland Glass Biennale (IGB) and symposium, Critical Practices: Making, Writing, Curating, Educating, which brought together international artists, designer-makers, curators, researchers, students and cultural workers. Venues of significant cultural heritage including the Dublin Castle Coach House and the National Museum of Ireland – Decorative Arts & History in the heart of Dublin co-hosted events, contributing greatly to increased audience diversity and attendance (7000 visitors). Digital publications of the IGB materials garnered a virtual audience of over 9000 readers and 4000 collectors.
Glass artists Roisin Moore and Emer O’Donnell facilitated four secondary school workshops and talks. These workshops provided students with exposure to experiential pedagogical methods of glass, lampworking, slumping, painting, engraving, copper foiling and design. The workshop objective was to enable students to acquire an understanding of glass materiality and glass art and design intangible cultures. Secondary school students located within a twenty mile radius of Dublin were invited to participate. One hundred and five secondary school students participated in the workshops along with four secondary school art teachers.
NCAD is collaborating with North Lands Creative UK, Berlin Glas Germany, Ltd. Stikla Maja Latvia.
The partnership came about by invitation of North Lands Creative, Director Karen Phillips. The 2019 IGB was enabled through partnerships with the Dublin Castle Coach House and the National Museum of Ireland – Decorative Arts & History. Kit Paulson's artists workshop was co-funded by Applied Arts Ireland: Northern Ireland.
The benefits of securing the Creative Europe funding are to work collaboratively and demonstrate innovation and high standards within the partnership in order to protect the intangible culture of glass making and to increase the visibility of glass art to new audiences internationally whilst contributing to the social, economic and ecological sustainability and success of the glass sector.
Working internationally with European organisations and artists is essential in generating research narratives beyond hegemonic discourses of art, design and internationalism. It promotes a community within communities; informing and exchanging values and rich
invaluable experiences of intangible cultural glass histories.
The prevailing mood is one of resilience, camaraderie and problem-solving as a means to continue to develop the field of glass within the contexts of education, environmental concerns and opportunities for creating and sustaining professional livelihood(s).
Organisations and artists adapting to the new situation through expanding the potentials of collaboration(s) and use of shared resources, information and technology.
The contemporary studio glass movement of the sixties was initiated as a reaction to the perceived crisis of losing human autonomy through the industrial revolution. The innate nature of creative individuals is understood to be one of problem solving; as such I believe individuals and collaborators will continue to develop and adapt to change.
Yes I believe it has highlighted the importance of all humans and how the existence of each person creates and shapes cultures and communities. The new normal has halved direct contact teaching provisions, reduced student-group sizes and reduced opportunities to explore specific aspects of glass-forming methodologies. Additionally, there are more online teaching and communication provisions.
To continue to pursue the creation of learning experiences and opportunities with others in provision of rich cultural experiences of interchange and development. Currently, involved in national and international academic partnerships engaging the exploration and evolution of contemporary glass and ceramic discourse(s) as they relate to materiality semiotic markers.