Many thanks to Mr C. Openshaw for all his support

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This is the first edition of Framed, the student led Sevenoaks Art Magazine, introduced to showcase the art done by students throughout the school.

2 This is the first edition of Framed, the student led Sevenoaks Art Magazine, introduced to showcase the art done by students throughout the school. The Art department is one of the many areas of the School where students are able to express their creativity, through all mediums- from sculpture to photography. Edited by Zoe Dawson, Larissa Castellano-Pucci, Thalia Hutcheson, and Sarah Skulczuk. Many thanks to Mr C. Openshaw for all his support

3 Claudia Chow Y 11

4 Lottie Abrahams 2013 Leaver

5 Eleanor Winch U 6

6 Zoe Dawson Larissa Castellano Pucci

7 Olivia Storey Emma Louise Rixhon

8 Claudia Chow L 6

9 Max White Y 11 Issy Law L 6

10 An Interview With Our Arist in Residence: Michael O Reilly 1. Is there a style/technique that you particularly use? In terms of contextualising, I think the colours I use and the gestures made are relatively loose. They suggest an impression of something, picking out and emphasising sections of detail and colour rather than explaining the whole scene in equal clarity. 2. What are the basic themes and ideas behind your current work? Colour seems to drive my interest in painting. They explore the relationship between highly pitched saturations. Long-term the work values and regards paint as a substance that has the abundant capacity for describing subjects and forming illusions. the ideas that currently seem most important to me would be the perception of the outdoors. I m interested in the fatigue that comes from exploits I m involved in such as climbing, running and hiking. It s about translating that physical and psychological strain into a painterly language of gesture and colour.

I aim to consider how the great tradition of painting functions in a contemporary setting.

11 3. Why did you choose to come to Sevenoaks? There are a number of reasons. I think the relationship Sevenoaks nurtures between its history and contemporary drive is something that rings true for me in my practice as an artist. I aim to consider how the great tradition of painting functions in a contemporary setting. Taking into consideration the Sevenoaks 100-acre campus as well as Knole Park, I felt it would be a really inspiring and relevant place for my practice. Also, I m keen on sharing my knowledge in methods and materials, which I think is crucial and I know for me when I was in school I didn t really have access to that. 4. Why do you paint Grumpy cats? I have grown up with our own cats and the old Garfield comics. I think they are an incredibly fun and potentially bizarre subject to be painting. You ve got to paint things you enjoy right? They are quite a kitsch subject traditionally and probably are a bit uncool, so to paint them plays with the different areas and hierarchies of fashion you can be placed under as a contemporary artist. Also of being slightly isolated as an outsider. 5. Who is your favourite artist There are lots and it ranges through disciplines. Morris Louis s colour field paintings, John Korner who shows with Victoria Miro gallery, Carol Rhodes and Peter Doig to name a few. Recently I was looking at this one particular painting by Van Gogh called Wheatfield with Cypresses mainly because of these wriggly brushstroke s and this really bracing colour relationship between Spearmint blue and Naples yellow.

13 Olivia Storey U 6 Larissa Castellano- Pucci U 6

14 Zoe Dawson U6

IB WORK: Zoe Dawson Experience For this project, I was focusing on sharing my experiences with the viewers of my paintings.

When you look up at them, you feel incredibly small and insignificant. At the same time I was studying John Keats in English.

I created paintings of the Alps in various styles, experimenting with different levels of abstraction and scale, and changing the saturation of the colours.

16 IB WORK: Zoe Dawson Experience For this project, I was focusing on sharing my experiences with the viewers of my paintings. When I was in the Alps, I was struck by the extraordinary size, beauty, and danger of the mountains. When you look up at them, you feel incredibly small and insignificant. At the same time I was studying John Keats in English. The ideas of the romantic period, and its focus on the beauty and enormity of nature inspired me to try and convey these sensations through painting. I created paintings of the Alps in various styles, experimenting with different levels of abstraction and scale, and changing the saturation of the colours. The final painting (the previous page) was eight by six feet, creating a huge expanse of the sharp edged mountains. When standing looking at the painting, you are struck by its size, and I think that the excitement and beauty of the mountains are conveyed through to the viewer.

17 Gaia de Ponti 2013 Leaver Deanna Hetherington U 6

18 Eleanor Winch U 6 Deanna Hetherington U 6 Clementine Bennet Y 11

19 Olivia Storey U 6 Emma Louise Rixhon U 6

IB WORK: Larissa Castellano Pucci Defined versus Undefined People observe the colors of a day only at its beginnings and ends, but to me it s quite clear that a day merges through a multitude of

In my line of work, I make it a point to notice them. - Mark Zusak The driving theme behind my IB Art coursework is defined versus undefined. These paintings develop this idea.

20 IB WORK: Larissa Castellano Pucci Defined versus Undefined People observe the colors of a day only at its beginnings and ends, but to me it s quite clear that a day merges through a multitude of shades and intonations with each passing moment. A single hour can consist of thousands of different colors. Waxy yellows, cloud-spot blues. Murky darkness. In my line of work, I make it a point to notice them. - Mark Zusak The driving theme behind my IB Art coursework is defined versus undefined. These paintings develop this idea. Defined is developed by the very precise branching of the trees whilst undefined is created by the drooling of the paint. The stark contrast created by these two techniques forces the viewer to insert within the same context two opposing ideas, potentially questioning whether a definite reality exists. The answer in my view is that a definite reality does not exist. In my view a landscape is continually moving, a static landscape does not exist. The light and time plays with the branches, altering the shadows it casts and ultimatley the shape of the landscape. The idea of a day fleeting away is captured by this quote. The landscape on the right again try to capture this idea, I try to potray one singular moment of the dying day. However in doing this I make these landscapes eternal, constant and most importantly defined.

21 Larissa Castellano Pucci U 6

22 Georgie Scott Y 9

23 James Geeson Y 9

24 Olivia Brandon L 6

25 Katy Hollings- U 6

27 Amy Mead and opposite page Y 10 Becky Mocatta Y 10

Red. By Jessica Lia BREAKFAST STOCK CLUB PREMIUM CHALLENGE #85

Red. By Jessica Lia BREAKFAST STOCK CLUB PREMIUM CHALLENGE #85 S E Q U O I A C L U B BREAKFAST STOCK CLUB PREMIUM CHALLENGE #85 Red By Jessica Lia As a stock photographer, it s a ritual for me to shoot something for Christmas and Valentine s Day every year because