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Havenhand - Artist - Bradford, West Yorkshire, UK

Laura Havenhand

Bradford, West Yorkshire, UK

Services

Artist

Work History

Life Drawing Teacher

Moves and Grooves. BOLT Agency Limited

February 2014 - August 2014

• Creating session plan that is inclusive of all types of learners.
• Evaluation of health and safety regulations, to create a safe learning environment.
• Effective organisation and delivery of activities to suit a variety of skill levels and ages.
• Gathering and collecting resources.
• Communicating effectively and well.
• Evaluation of activities created.

Curator

Roger Dawson. Lytham Heritage Centre

From April 2014

, Lytham.
2014 April Adjudicator. Spring Exhibition, Lytham art society, Lytham.

Adjudicator

Lytham Art Society

April 2014 - April 2014

Portrait Teacher

Harris Museum

From October 2013

• Creating session plan that is inclusive of all types of learners.
• Evaluation of health and safety regulations, to create a safe learning environment.
• Effective organisation and delivery of activities to suit a variety of skill levels and ages.
• Gathering and collecting resources.
• Communicating effectively and well.
• Evaluation of activities created.

Teaching Assistant (Painting | Ceramics | Sculpture)

Contact Christine Stringfellow

August 2013 - September 2013

• Assisting the teacher deliver a range of activities to learners.
• Giving one to one support and help to learners
• Ensure it is a safe learning environment.
• Communicating effectively and well.
• Evaluation of activities created.
• Assisting the set up and cleaning of the classroom.

Artist Commission

Victoria Henderson

From June 2013

Blackpool.

Partner

Blame Lilith

53 King Street, Blackpool.

Workshop Coordinator and Teacher

Sand Sea and Spray

From June 2012

• Creating session plan that is inclusive of all types of learners.
• Evaluation of health and safety regulations, to create a safe learning environment.
• Effective organisation and delivery of activities to suit a variety of skill levels and ages.
• Gathering and collecting resources.
• Communicating effectively and well.
• Evaluation of activities created.
• Documentation of event delivered.

Curator

Punkadelics' Bar Red

From August 2011

• Design and implementation of exhibition.
• Selection of artwork.
• Organising display systems and installation.
• Meeting deadlines.
• Liaising with press.
• Communicating efficiently and well.
• Problem solving.
• Working within strict Budgets.
• Working with artist to deliver the best possible show.
• Displaying and hanging of artworks.
• Ensuring a Safe working environment.

Artist

Self-employment

From April 2010

Summary of Key Responsibilities and Duties.

• Generating ideas, idea development.
• Creating or developing a piece of work in response to a brief or commission.
• Meeting deadlines.
• Sourcing materials and developing relationships with suppliers.
• Researching, visiting locations, interviewing people, using libraries and the internet.
• Administration, correspondence, creating publicity.
• Project planning, creating and managing a budget, financial planning, calculating expenditure.
• Managing tax and self-employment issues.
• Applying for and creating sponsorship.
• Writing articulate and well researched statements.
• Writing project proposals for galleries

Supervisor

West Beach Restaurant

Position Restaurant Manager Clifton Arms Hotel,
Tel 07794772537 01253 739898 West Beach,
Email chrishowe82@hotmail.co.uk Lytham.
Summary of Key Responsibilities and Duties.

• Delegation of jobs within the team.
• Communicating between staff, kitchen and customers.
• Balancing/Cashing up the tills.
• Leading the team on shift.
• Creating Bills.
• Compliance with health and safety legislation to


ensure a safe working environment.
• Ensure the Weights & Measures Act and Trade Descriptions Act are adhered to at all times.
• Following and full awareness of Fire Safety Procedures.
• Full awareness of accident report procedure.
• Adherence and full understanding of the


maintenance reporting procedure.
• Answering customer queries or complaints.
• Ensuring High quality of service throughout the shift.
• The initial and training of members of staff.
• Polite professional appearance and manner.
• Responsibility for the runners, waiters and waitresses.
• Upselling products.
• Serving food and beverages.
• Taking bookings.
• Organisation of seating plans.
• Taking direction and guidance from managers.
• I am trained for the role of maître d', room host, runner, bar supervisor and still room operative.

Curator

Blott Artist Studio

From September 2009

Summary of Key Responsibilities and Duties.
• Maintaining high standard of gallery presentation.
• Organising Team members.
• Staff management/training and duties.
• Sales.
• Design and implementation of exhibitions.
• Research.
• Meeting deadlines.
• Organisation of stock / Storage of paintings and sculptures.
• Handling cash.
• Keeping a record of sales.
• Liaising with press.
• Communicating efficiently and well.
• Problem solving.
• Working within strict Budgets.
• Working both independently and within a team.
• Design of exhibition publications.
• Displaying and hanging of artworks.
• Ensuring a Safe working environment.

Invigilator

Emergence

July 2009 - September 2009

• Maintaining high standard of gallery presentation.
• Negotiating sales.
• Leading interactive art activities.
• Handling cash.
• Keeping a record of sales.
• Recording visitor numbers.
• Liaising, and talking to the press.
• Communicating efficiently and well.
• Problem solving.
• Working both independently and within a team.
• Ensuring a Safe working environment.

Invigilator

3 Degrees, Trinity Church, Leeds.

June 2009 - July 2009

• Maintaining high standard of gallery presentation.
• Negotiating sales.
• Leading interactive art activities.
• Handling cash.
• Keeping a record of sales.
• Recording visitor numbers.
• Liaising, and talking to the press.
• Communicating efficiently and well.
• Problem solving.
• Working both independently and within a team.
• Ensuring a Safe working environment.

Artist Commission

Craig Geddes

From August 2009

London.

Artist Commission

Zara's Restaurant

From July 2009

Leeds.

Visiting Artist Lecturer

University of Leeds Fine Art MA at Bowery Gallery

From March 2009

• Research and delivery of a lecture on the themes within my artwork.
• Explanation and guidance on art routes available/professional development/and implementation of an exhibition.
• Creating a PowerPoint presentation and resources to back up lecture.
• Leading debates on the specific topics/issues.
• One to one mentoring.

Mentor

PAFRAS

June 2009 - September 2009

• Maintaining a high knowledge of laws affecting asylum in the UK, contact centres, funds available, charities etc.
• One to one mentoring.
• Referral to appropriate bodies and organisations.
• One to one support.
• Problem solving.
• Excellent communication skills.
• Ability to empathise.
• Maintain strict confidentiality.

.

Cocktail waitress

Skippys at Trio, Headingly, Leeds.

September 2008 - July 2009

• Communicating between staff, kitchen and customers.
• Creating Bills.
• Compliance with health and safety legislation to ensure a safe working environment.
• Ensure the Weights & Measures Act and Trade Descriptions Act are adhered to at all times.
• Following and full awareness of Fire Policy Procedures.
• Full awareness of accident report procedure.
• Answering customer queries or complaints.
• Ensuring High quality of service throughout the shift.
• Maintaining a good working knowledge of menu.
• Polite professional appearance and manner.
• Upselling products.
• Serving food and beverages.
• Making cocktails.
• Taking direction and guidance from managers.

Projects

Heroine Addict

In this body of work I am looking at women. I want to represent all different types of women for the multi faceted, talented individuals they are. I am challenging the idea that women can only be viewed as sexual objects, and as such commodities as discussed by Barthes. I am trying to change the role of the 'painted women' so that they may become the subject of the piece. I am reacting to the social conditioning that suggests particular gender roles. ‘Subject of Desire’ considers the decoration we adorn ourselves with and the perception it receives. That any from of social conformity appears to allude to the notion that ‘we’ accept our roles as prey.
These pieces are intended to show women as something other than an object. Strong, defiant, a person.

I am looking in particular at the idea that the way we ‘present ourselves’ determines a women’s worth in society’s eyes. Saul discusses that in order to gain social acceptability, women are under constant pressure to ‘correct’ their bodies and appearance more generally, and make them conform to the ideals of feminine appearance of their time, the so-called ‘norms of feminine appearance’ (the standards of appearance women feel they should be living up to) (Jennifer Saul 2003, 144). In not doing this by way of tattooing her body has she taken ownership of her body? In posing in an ‘unladylike’ manner does she defy convention and set herself apart. The act of tattooing her body has changed her body’s perception, message and how it

Domestically Challenged

After graduating, I'm much more aware of the social construction and stereotyping of women within Western society. We are sold a concept of womanhood/ femininity now, more than ever before, inculcated through the all powerful media. In this body of work I’ve interpreted media advertising methodology and used mock media advertising semiotic language in a subversive way. I wanted to expand on this sort of sexist iconography in a jokey, tongue in cheek sort of way. The theme of my current series of paintings could be considered a personal narrative, telling the story of how I have been made to feel, as a women and as a female artist, as well as in the broader context of how women are pressured to 'correct' themselves, leading to narcissism in contemporary society.(note 1) With women self- policing and judging themselves by their own body, as if their body is reflective of their worth. My early feminist stirrings occurred whilst on my degree course working with refused asylum seekers, I felt a particularly strong compassion for the women I encountered, who appeared to me to be so very vulnerable and unprotected. It opened my eyes to how western society purports to be ‘equal’ and ‘democratic’ when it is clearly not.
It is generally accepted by modern society that gender differentiation no longer has any relevance today, as we move into an age where supposedly, intellectual capacity is considered the most important factor. Yet inequality is a much more widespread and pervasiv

Madelena

These paintings depict individuals within the UK who live in a social and cultural limbo, implicated by the UK’s use of destitution by design legislation, instigated as a deterrent to asylum seekers. They typify a highly censored world; the life of an illegal immigrant. The portraits focus on women and their vulnerability as such. These particular women illustrate a segment of society forced by political tape into the sex trade for survival. The work relies upon metaphors and semiotics to permit the viewer an opportunity to decipher the intention. The paintings illustrate a critique of society’s systematic segregation and its acceptance of narcissistic views whilst considering this exploitation within the context of a universal social phenomenon.

The paintings are made by repeatedly layering semi-transparent stencils of a man, these layers reveal the portrait and identity of an individual excluded from society, and who's story is eluded from the mass media and therefore the mass populace. I use the expression on the face to emulate their feelings and substantiate their existence as human, allowing the viewer to identify and relate to the person instead of the stereotype. In selecting and choosing how to symbolize the themes and represent the person, I chose to find images, and approbate them, from photographers that have been exploitive in their documentation.

The scale of the canvases is a historical signifier of the elite. The scale here is used to empower, and symbolic

Peripheral Vision

I paint large-scale portraits made out of representative imagery depicting socially excluded individuals in our society. The individuals represent systematically dehumanised minorities that have been reduced to bare lives (bodies) living outside the main political body, therefore silenced, ignored and misrepresented. This has led to the commodification of these individual’s inherent to social alienation and exclusion, often this mistreatment leads to the trafficking and exploitation of entire families through their lack of rights. I represent these people to reflect their humanity and expose the reality behind mass-produced and commonly accepted perceptions of citizens within our culture.

The paintings are made by repeatedly layering semi transparent stencils of a man in order to reveal the portrait and identity of an individual excluded from society whose story is eluded from the mass media and therefore the mass populous. I use the expression on the face to emulate their feelings and substantiate their existence, allowing the viewer to identify and relate to the person instead of the stereotype.

The scale of the canvases is an historical signifier, of those with power. Traditionally a large-scale portrait was a luxury for the elite and put them on a pedestal. The scale of the paintings is to empower, and symbolically elevate these individuals, to represent them as human and part of the body of society. I wanted the viewer to relate to the person, to recognise the pain in

Qualifications & Certifications

Pttls (Preparing to teach in the Life Long Learning Sector)

Blackpool and the Fylde College

Fine Art BA(Hons)

Leeds Metropolitan University

BTec Diploma In Foundation Studies (Fine Art)

Blackpool and the Fylde College

General Studies

Preston College

Queen Mary School

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