Teaching Real-World Studio Practices without a Physical Space
Returning to academic reading has been both energizing and daunting, particularly with the physical demands of moving my studio equipment across the UK have made me reflect on the privileges of having a dedicated creative space and reading “Teaching Practices for Creative Practitioners’ by Orr & Shreeve, resonated deeply with me. One concept that really stood out was “cultures residing in the studio,” a relatively new idea discussed in ‘Studio Culture’ by Shaughnessy (2009), where he explores “the mechanics of building and maintaining a vibrant studio culture.” This concept speaks to the collaborative, dynamic environment that a physical studio can foster. I realized that many creative programs, particularly at CSM, do not have a dedicated physical space for students, which contrasts with my own experience as a creative practitioner.
Having a studio where ideas flow freely and collaboration occurs organically is invaluable. This collaborative energy, fuelled by shared space, is essential to the creative process. However, I’ve begun reflecting on how to teach students the benefits of a physical studio when they may not have access to one during or after university. Having worked in various creative environments, I’ve seen how studio culture fosters spontaneous collaboration, feedback, and problem-solving, all of which enhance the creative process.
Reflecting on my role in preparing students for the creative industries, I realize not all will have access, due to rising costs and changing dynamics of creative work means many will enter the workforce without this luxury. This raises questions about how to replicate the collaborative, hands-on environment of a studio in the classroom and what strategies we can employ to offer students an authentic real-world experience. As Orr & Shreeve (2017) suggest, the digital space might offer a different kind of collaborative culture and whilst I value a physical space, I can prepare students for the diverse ways creative work is now shared and produced.
My aim is to create more opportunities for students to engage in collaborative, real-world experiences within the classroom, even if physical space limitations exist. Suggesting project-based workshops where students work on shared themes or problems, mimicking the collaborative energy of a studio. I intend to incorporate more peer-led critiques and group-based activities to simulate the kind of group discussions and feedback that naturally occur in physical studio environments.
I will also emphasise resourcefulness and adaptability in creative practice, if students leave university without a dedicated work space, they will need to be able to create environments that foster creativity, even in unconventional settings. As Hall (2022) states, “the artist’s studio is not simply a place of work but a site of cultural exchange.” I will encourage students to think about how they can set up their own studio environments at home or within other creative communities, remaining agile and flexible in the face of challenges.
To expand my approach, I will read more about how other creative programs and tutors tackle the issue of limited studio access, particularly focusing on how students can be prepared for creative careers without relying on a physical space. *The Artist’s Studio: A Cultural History* by Hall (2022) will inform my understanding of the historical and cultural significance of studios, helping me think about how these spaces translate into the modern creative world.
References
Hall, J. (2022). “The Artist’s Studio: A Cultural History”. Thames & Hudson.
Orr, S., & Shreeve, A. (2017). “Teaching Practices for Creative Practitioners.” Art and Design Pedagogy in Higher Education: Knowledge, Values, and Ambiguity in the Creative Curriculum, pp. 88-106.
Shaughnessy, A. (2009). “Studio Culture”. Unit Editions.