Cooking heath bunting.
Mobile phone survival.
Dear Arts Educator, I am writing to offer tutorial and technical support to BA and MA students in the form of "Artist's Resilience" workshops. I have worked as an artist for over 30 years, lecturing and exhibiting internationally. My career as an artist was born during 1980's Conservative austerity. To produce Art true to my intentions, I have produced work almost entirely without institutional funding and support. My life's work would not have been possible unless I had gained extensive knowledge in living and working outdoors, surviving on bare minimum either to complete tasks or get somewhere important. Whether it be challenging the status quo, building my own tools or finding a meal, I have had to survive the brutality of what is, an honest artist's life. Eight years ago I met with UK security services who informed me that artists were now considered their primary adversaries. So with this in mind, for the last 7 years I have been training artists in resilience training to enable them to continue to tell their truths. For this academic year I am offering a variety of Artist Resilience workshops. The content of these workshops will change seasonally and are reliant on full engagement from the participating students. For this Autumn term I am offering "Level 1: In the Field" workshop. This is an introductory workshop which begins by supporting students when working outdoors. Artists who wish to work outside will benefit from training to help realize their project ambitions. We, as a group/or number of small groups, would occupy out door spaces, conduct research and gather resources. We will cover some fundamental outdoor skills such as clothing and equipment, bush craft and urban survival skills. These actions will provide a backdrop for discussing the subversive, autonomous and collective aspects of practicing the arts, in the context of "Artist Resilience". The students will find this process of breaking-out of the studio to be immensely productive for their artistic development. Examples of current and previous host organizations include Goldsmiths College, Arnhem college of art, Darmstadt school of architecture, Braunschwieg school of architecture, Bremen school of art, Zurich school of art, Toronto school of art, Saltzburg school of art, Berlin school of art and the University of the West of England. If you feel that some or all of your students would benefit from this kind of support, please send your inquiries to firstname.lastname@example.org and we can tailor my involvement with your department. Thank you for taking the time to read this email. Regards.Heath Bunting.