Steve Royston Brown

About Contact ‘Taxonomy - After Haeckel III’ ‘Taxonomy - After Haeckel I & II’ ‘Mandrake – Double Tuber’ – 2009 ‘Mandrake – Single Tuber’ (2D & 3D Versions) – 2009 ‘Moreau’ (Detail) – 2009 ‘Moreau’ 2009 Illustrations for ‘Moreau’ – 2009 Illustrations for ‘Moreau’ – 2009 ‘Arlecchino the Brave’ – 2009 ‘Arlecchino the Brave’ – 2009 ‘Arlecchino the Brave’ – 2009 ‘Arlecchino the Brave’ (In Progress) – 2009 ‘Writhe’ – 2008 ‘Between’ – 2008 ‘Awkward Forms’ Surface Study II – 2007 ‘Awkward Forms’ Surface Study II (In Progress) – 2007 Integrated Glass Laser Etching – 2006 Physical Glass Print Study III – 2006 Printed Concrete Panels – Private Commission 2005 ‘Stump’ – 2004 ‘Remnant’ – 2003 ‘Hubris’ – 2003 ‘Ghosts in the Machine’ – 2001 Research Curriculum Vitae

Applied Arts Printmaking

My work mediates a dialogue between two-dimensional printmaking and the physical/formal concerns of working with applied art materials

With a background of 14 years as a commercial screen printer for the textile industry I returned to education in 1999 in pursuit of applying my printing skills and experience to physical materials, wood, metal, concrete with a determination to extend the relationship between the printed image and form

Focussing on ceramics for my first degree and exploring both ceramics and glass whilst studying my MA at the Royal College of Art I then spent 2 years teaching and disseminating an approach to combining image and form on the undergraduate Applied Arts course at Hertfordshire University

Three years ago I had the opportunity to focus this activity further through an AHRC funded collaborative doctoral award between the RCA and the V&A museum entitled ‘The Physicality of Printmaking’ which draws together the various strands of my enquiry into the relationships involved with interpreting image into applied arts materials and form

Contact

Email: steve@steveroystonbrown.com

Mobile: 07811 369411

‘Taxonomy - After Haeckel III’

‘Taxonomy - After Haeckel III’

‘Taxonomy - After Haeckel I & II’

‘Taxonomy - After Haeckel I & II’

‘Mandrake – Double Tuber’ – 2009

‘Mandrake – Double Tuber’ – 2009

‘Mandrake – Single Tuber’ (2D & 3D Versions) – 2009

‘Mandrake – Single Tuber’ (2D & 3D Versions) – 2009

‘Moreau’ (Detail) – 2009

‘Moreau’ (Detail) – 2009

‘Moreau’ 2009

‘Moreau’ 2009

Illustrations for ‘Moreau’ – 2009

Illustrations for ‘Moreau’ – 2009

Illustrations for ‘Moreau’ – 2009

Illustrations for ‘Moreau’ – 2009

‘Arlecchino the Brave’ – 2009

‘Arlecchino the Brave’ – 2009

‘Arlecchino the Brave’ – 2009

‘Arlecchino the Brave’ – 2009

‘Arlecchino the Brave’ – 2009

‘Arlecchino the Brave’ – 2009

‘Arlecchino the Brave’ (In Progress) – 2009

‘Arlecchino the Brave’ (In Progress) – 2009

‘Writhe’ – 2008

‘Writhe’ – 2008

‘Between’ – 2008

‘Between’ – 2008

‘Awkward Forms’ Surface Study II – 2007

‘Awkward Forms’ Surface Study II – 2007

‘Awkward Forms’ Surface Study II (In Progress) – 2007

‘Awkward Forms’ Surface Study II (In Progress) – 2007

Integrated Glass Laser Etching – 2006

Integrated Glass Laser Etching – 2006

Physical Glass Print Study III – 2006

Physical Glass Print Study III – 2006

Printed Concrete Panels – Private Commission 2005

Printed Concrete Panels – Private Commission 2005

‘Stump’ – 2004

‘Stump’ – 2004

‘Remnant’ – 2003

‘Remnant’ – 2003

‘Hubris’ – 2003

‘Hubris’ – 2003

‘Ghosts in the Machine’ – 2001

‘Ghosts in the Machine’ – 2001

Research - ‘The Physicality of Printmaking’

I am currently completing a collaborative doctoral award between the Royal College of Art and the Victoria and Albert Museum in London. My research explores the complex interdisciplinary practice of screenprint production within the applied arts

There are two predominant strands to my research:

  • The studio element of the enquiry has involved the development of a new technique that effects a more integrated relationship between printmaking and the manipulation of clay
  • The historical element of the research is concerned with the social configurations of screenprint production, specifically the role of interpretation as a key position of mediation between design and end product

Papers & Presentations:

  • ‘Dialogues: Between Print, Material and Form’
  • ‘Questions of Integrity and Artifice in Developing Strategies for an Integrated Relationship Between the Printed Surface and Ceramic Form’
  • ‘The Role of Interpretative Mediation in Applied Art Screenprinting: A Model For Production’

Supervisors:

  • Glenn Adamson - V&A
  • Alison Britton - RCA
  • Felicity Aylieff - RCA

Curriculum Vitae

Employment & Higher Education

1965 - Born in Penang, Malaysia

1984 – 1999 Commercial Textile Screenprinter

1999 – 2001 BA Designer Maker (First Class Hons) - Plymouth University

2001 – 2003 MA Ceramics & Glass - Royal College of Art

2004 – 2006 Lecturer (Applied Arts) – Hertfordshire University

2006 – 2009 Collaborative Doctoral Award (PhD) – RCA & V&A Museum

2003 – 2009 Visiting Lecturer

  • Royal College of Art
  • Glas & Keramikskolen, Bornholm, Denmark
  • Sint-Lucas Uni of Visual Art, Ghent Belgium
  • Ulster University
  • Central St Martins
  • Bath Spa University
  • University for the Creative Arts, Farnham
  • Plymouth University

Residencies

2004 Artist-in-residence Tonbridge School

2005 Bullseye Glass Factory Portland USA

Conferences & Symposia

2006 'Glass & Print' Symposium Royal College of Art London

2008 'Idea & Act 2' Ceramic Symposium; Bath Spa University

2009 'Parallels & Connections' Sunderland University

2009 'Surface Tensions' UCA Rochester University

2009 'Impact 6' Interdisciplinary Print Conference; Centre for Fine Print Research; University West of England

Selected Exhibitions – Awards – Commissions - Articles

2002/3 'Ceramic Contemporaries 4'; UK Touring exhibition

2003 Showcase Award Contemporary Applied Arts

2003 ROSL Music Trophy Commission Presented at Queen Elisabeth Halls London

2004 'Haunt' – Timeline Exhibition; Sherbourne House, Dorset

2004 'Making History' Ceramic Review No 206 Article

2005 'Westerwald International Keramik Prize Exhibition; Keramikmuseum, Westerwald, Germany

2005 'Printmakers Fired: Works on Paper and in Glass'; Bullseye Connection Gallery, Portland, Oregon USA

2006 Printed Concrete Commission; KPMG London

2008 'Translations and Discoveries'; Pacific Northwest College of Art; Portland, Oregon, USA