Stanley Jones early training was at Wigan School of Art and from there he went to Slade School of Fine Art in London. Following his Studies in London, he moved to Paris to work at the Ecole de Beaux Arts for a time before moving to the Atelier Patris, Montparnasse in Paris where he gained much experience in stone and zinc plate lithography and was also fortunate enough to work with artists like Giacometti, Le Moal, Sugali, Severini and Soulages. In 1958 Robert Erskine persuaded Stanley to return to London to help set up the Curwen Studio and create an environment in which artists had the freedom to work in printmaking. At the same time he took up a post at the Slade School to lecture in lithography. It was a perfect combination enabling him to work with artists, students and to produce his own work.
Stanley has devoted his life to the execution and promotion of printmaking. Not only has he guided such famous sculptors as Henry Moore and Barbara Hepworth into the two dimensional world of graphic image making, but he has also, in later years, introduced generations of art students to the magic of letting their imaginations roam freely on paper at the Curwen Print Study Centre. In 2000 Stanley Jones and Sam Alper opened the Curwen Print Study Centre, at Chilford Hall, as a non-profit Trust under the Directorship of Lorraine Chitson which would focus on teaching Fine Art Printmaking. Both were (sadly Alper died in 2002) extremely passionate about protecting the future of traditional skills in a digital age. Stanley is Life President of The Curwen Print Study Centre.
Despite his busy life either working or teaching in the Study Centre he has found the time to pursue his own career as an artist. Stanley uses lithography and painting and has had one-man shows as well as participating in mixed exhibitions in the UK and abroad. His work is in private and public collections throughout the world.
Mark Hannam spent fourteen years working in the financial service industry, at the Bank of England, Citibank and Barclays. Since leaving the City in 2005, he has been appointed to several Non-Executive Director positions.
Currently he is the Deputy Chair of the University of East London, the Independent Director of the Institutional Money Market Funds Association and a member of the Board of Numbers For Good. Previously he was Chair of Fair Finance, the London based micro-finance company, for eight years. Mark has a PhD in philosophy and is an Associate Research Fellow at the Institute of Philosophy at the University of London.
Art school to Leo Burnett to Chetwynds to DPA a well established business in Cambridge, David Porter has been on the creative side of advertising and design for over 30 years. David gets a kick out of creating powerful ideas and photography plays a big part in his life.
The images in David's portfolio expresses his passion for photography and includes work commissioned by clients and others taken round and about.
Chloe was introduced to the Curwen Studio on Edward Bawden's recommendation after leaving the Royal College of Art in the late 1970s and thereafter made a number of commissioned prints at their London studio.
Coincidentally Chloe had originally attended art school in Cambridge and her mother had lived in Saffron Walden not far from Chilford Hall. Chloe's mother Sheila Robinson was a very skilled printmaker and Chloe shows the cardboard cutting techniques and prints made by her mother to others so that these working methods can be more widely practiced and preserved.
Chloe works as an artist, printmaker and illustrator and although she concentrates mainly on her own work has taught part time since leaving the RCA - from BA Illustration students in Beirut to painting weekends on the Kent coast, schoolchildren, community art groups and most recently MA Illustration students at Camberwell Art School in London. She relates to the work of others by using her own practical experience as a starting point.
There is a definite empathy between sculpture and printmaking that may not be obvious, because it focuses in the materials and processes of both disciplines as well as the fundamental importance of drawing. Metal working tools equipment and chemicals are common to both sculpture and printmaking and their mastery enables the transition from one to the other fairly painlessly. It should be remembered however that the image dictates the handling of materials not the other way round and good drawing is fundamental to both.
The work of John Mills illustrates this compatibility detectable in his long career using both disciplines. The work he has produced over the years starts at junior art school, advancing to senior art school, both at Hammersmith and then progressing to The Royal College of Art Sculpture Dept. a total of twelve years. Junior art school for three years was a solid introduction to many disciplines including Printmaking and Sculpture providing a strong basis for the practise and understand of craft relative to expression. His work ever since those days has included images of people he admires, both living heroes and others from art and history, he like the frisson of trying to make ‘art from art’ that this allows. Sport and dance feature prominently in his life and therefore in his work and he continues to find excitement depicting the physical beauty of the human figure in action and repose, accepting the challenge of trying to make a powerful statement using a beautiful subject. He sometimes makes a brief lapse to make a brutal image that permits the pleasure of free gestural modelling in both disciplines. The graphic power of lithography and etching with their comparative speed of production and thought, encompasses the pleasure. The beauty that is powerful and power that is beautiful interests Mills more than simple reproduction imitating life with little or no interpretation and is an important aspect of his sculpture, printmaking and drawing.
Julia’s introduction to Curwen Studio was through Michael Rothenstein who invited her to spend a day photographing while he was silk screen printing his butterfly series with Kip Gresham. Subsequently Stanley Jones invited her to photograph with Bernard Dunstan and later with Paul Hogarth.
Julia spent a year at Guildford School of Art before moving to the Guildford School of Photography under Ifor Thomas, painter and film maker. Her early work was with The Observer as a picture researcher followed by studio photography, still life, fashion and reportage for magazines and newspapers, most regularly for the Daily Telegraph.
In the sixties she moved to rural Essex, bringing up her three children there. Her interest turned to church architecture and to working with musicians. She has exhibited in a number of galleries in East Anglia including Snape Maltings, and in London at the National Portrait Gallery.
She has illustrated six books, two major publications being Educating Ever Five Generations of Cambridge Graduates (CUP); and Stories in Stone, the Medieval Roof Carvings of Norwich Cathedral (Herbert Press/Thames & Hudson NY). She worked with Channel 4 Television to produce two religious education programs directly from these photographs.
Moving to Cambridge in 1989 commissions for portraiture began to flow, from CAM magazine and the Colleges, an area of photography in which Julia has become firmly established. Her work is held in the National Portrait Gallery archive, in the New Hall Art Collection, and in many of the Cambridge colleges.
Julia has had experience in publishing and working with other artists, and a long association with the Royal College of Art through her first husband of thirty years, Professor of Photography and later Pro-Rector.
Since graduating from the Royal College of Art in 2008, Borrington co-founded the Dekkle Fine Art Print Studio in Baldock, Hertfordshire, with his wife Louisa.
He specialises in Etching and drawing, and has been appointed honourable artist at King's College London, as well as the honourable artist of the Lawful Government of Hawaii. Borrington's keen interest in education and conserving traditional techniques, underpins his practice.
He was introduced to Curwen by John Mills in the spring of 2016, where he hopes to bring many new ideas to the Study Centre.