Published on February 25, 2014 | by Edwige Dubois0
CCW film fund rewards risk-takers
The ten winners of the Camberwell, Chelsea and Wimbledon Artist Moving Image Film Fund (CCW AMI) have been announced and will have their video work screened at the South London Gallery.
Each student will be awarded £500 to create a single screen work that reflects a shift in his or her own practice.
Edward Webb-Ingall, who organised the moving image initiative and runs film workshops at Chelsea College, told Arts London News how he selected the winners:
“This year, what stood out for us were people taking risks, people engaging in interesting collaborations, and people using the fund and the initiative as a chance to push themselves.”
The winners of the award are: Milo Creese, Aylish Browning, Benjamin Dawton, Thomas Ellmer, Sylvie Macmillan, Julian Buchan, Giacomo Raffaelli, Benjamin Whitley, Natsumi Sakamoto and Sam Burford.
Raffaelli, a third year photography student, describes the project as an opportunity to “open up the prospect of your audience. At least, you are going out of the safer and protected environment of the studio.”
According to Whitley, the initiative has “a high sense of professionalism” and he will use the fund “to build a proper set and work with models.”
“[The fund] allows you to be a lot more creative and actually realise what you have got in your head to the extent you want to do it,” he added.
Sakamoto, a MA Fine Art student and the only winner from Chelsea College, explained that the fund helped her to materialise an idea she had been developing for a few years while she was still in Japan.
Her piece Unforgettable Landscape is an interview-based video that explores the mythical stories of the Rowan Tree.
“I will use the funding for the travel fees, because I spend a lot of money on coming and going from Scotland to here and for filming equipment as well,” she said.
The awarded students will also benefit from a mentoring session by a member of staff from the international arts agency LUX, that specialises in professional practise and supports artists who work with the moving image.
Gil Leung, the head of programme at LUX, explained that the development session will approach the questions of “how to professionally position their practice – issues like what formats to work with and budgeting for future works – where they can apply for funding, how to edition works, the question of representation and more generally how to expand practice in terms of exhibition, distribution, publishing and so on.”
She added: “It provides a way to look at professional practise while artists are still in education because in a lot of arts schools that area is not covered so much.”