Welcome to Borrington’s Atelier

Welcome to Borrington’s Atelier.  We are a small, unique specialist Fine Art Printmaking Studio, where everyone from all backgrounds and of all abilities are welcome. As we offer a tailored course we can cater for many requirements which conventional education struggles to or simply cannot.

Please feel free to contact us at the Atelier if you have any further questions. info@dekkle.com

Mission statement

Our key aim is to protect traditional fine art printmaking within a contemporary fine art discourse.

 

Our mission is to create a commercially viable ‘ecosystem’ starting with Borrington Atelier. This ‘ecosystem’ refers to creating and maintaining the whole journey of an Artist. We are a specialist traditional fine art printmaking school focused on contemporary art practice and critical thought.

 

Student fees will be commercially generated. We feel strongly that Art is a professional industry and this should be present from the place of study and throughout an Artist’s professional career. Artists have always battled this concept, but through the mechanisms we are implicating we will show that this is the best and most successful way to teach Artists.

 

A social responsibility of an ‘Artist’ is to be a custodian of culture, at the forefront of social development for the people. Our mission is to explore the world around us, teaching our scholars, members and the people we interact with in the local community that the Visual Arts is crucial to our lives. Artists need time, space, access to expertise and the freedom to create art without financial restraints.

 

Scholars will have access to the Borrington Atelier and Dekkle Printmaking Studios during their studies and once they have graduated. We believe support is needed in the early stages of an Artist’s career. This will ensure success and that our mission is fulfilled.

Objectives

The Atelier will give an opportunity to three talented artists to explore and develop the Visual Arts. We will ensure that there is a rugged academic discourse for them to explore their own language free from outside distractions. However, we will ensure that these future Artists understand how to pursue financially sound careers.

 

We are currently designing our first-year funding stream for the Atelier. We need to raise £30,000. This would support 3 students for the first year. It is crucial that we offer subsidised education, as we want to choose the highest calibre artists. Our current model relies on graduating scholars raising funds for the prospective students. This mechanism will generate income for the studio and the Atelier. We see this as vital so that nothing hinders artistic development.  

 

We also intend to place an award system for the scholars. When a set monetary target is achieved they will receive a return on any project which generates over the select amount. This will create graduating scholars with money in their account and the knowledge of how to start a project and carry it through for real returns.

 

At the end of the first-year we should have generated the funds to support the following year’s scholars.

 

Looking further forward we intend to look for larger premises capable of holding ten students,  five graduated students and three Academic staff all with their own studios on site.

 

This would be the template for the largest Atelier under one master Artist and three assistant artists who are all professional practitioners.

 

The five graduated scholars who have proven the most proficient can stay on for another year under the same business mechanism.

Contextual Practice.

A flexible course tailored to the individual requirements of the student. The Atelier to act as a preparatory course to Ma level study or as a course in its own right embarked upon by students who although engaged in contextual practice may not wish to continue into higher education or students who may have already completed a BA or MA and perhaps wish to move their practice in a new direction.

 

The course would have a central core to be taken by every student, acting as foreground to which ever individual mode of study is devised for them. This 'core' would consist of a set reading list introducing key texts relevant to the art historical and theoretical materials surrounding the process craft/theory dichotomy....(more) Students will be encouraged to develop an awareness of their own practice within an art historical context and develop a critical stance regarding modes of production such as etching and print in a contemporary context. The course aims to aid a student in positioning themselves as an artist who uses print or as a 'print maker' within dialogues and dilemmas existing between assumed positions of print as tradition and conceptual art as 'avant garde' and re-inventions of print which may choose to position themselves in-between or outside of these dialogues.

 

The course would consist of a series of seminar sessions weekly around set readings / artists. The course would culminate in an assessed piece of work which could take the form of a short essay or presentation.(this more formal part of the course could be geared to helping students prepare for university interview processes, preparing a piece of writing for a written portfolio and as further opportunity to gain critical and constructive feedback on their own practice)

Opening Times

Members: Wednesdays from 10am to 6pm

The Studio is otherwise open by appointment only

Monday to Friday 10am - 5:30pm

Dekkle Printmaking Studio

2 Bell Row, High Street, Baldock, Hertfordshire

England, SG7 6AP

01462 490501 - info@dekkle.com