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Beaulagh Sloan Chapman

Born

1970, Rochester, Kent, England

Type of Artwork

Metalwork Sculpture and Silversmithing
prepared to undertake commissions

Art Education

1989-1993 Kent Institute of Art & Design
- 1989-1991 BTEC NDD Silversmithing
- 1991-1993 BTEC HND Goldsmithing
1993-1995 The Royal College of Art - MA Degree - Goldsmithing, Silversmithing, Metalwork & Jewellery

Teaching / Lecturing

1996 PGCE Master Class, London Guildhall University
1996 to date Kingsway College, London
1997 BA Degree Visiting Tutor, Loughborough College of Art
1997- 8 Dali-Programme Tutor, Central St. Martins School of Art
1997 AGM, Clerkenwell Green Association

Mixed Exhibitions

1991 NDD Diploma Show, Kent Institute of Art & Design
1993 HND Diploma Show, Kent Institute of Art & Design
1994 Work in Progress, Royal College of Art, London
1995 Royal Mint Medals, Plantation House, London
1995 MA Degree Show, Royal College of Art, London
1995 New Designers, Business Design Centre, London
1995 Design for our Future Selves, Royal College of Art, London
1996 Clerkenwell Festival, Sanswick Gallery, London
1996 Art in Action, Oxfordshire
1996 Innovative use of Materials, BSI, Chiswick, London
1998 20th Century Silver Collection Makower/V&A, London

Awards/Commissions

1990 Goldsmiths Company Awards, Design Commendation
1993 Johnson Mathey, Precious Metals Bursary
1994 The Edward Marshall Prize, Finalist
1994 The Royal Mint Medal Prize, Finalist
1995 The Royal Mint Medal Prize, Finalist
1995 Bankers Trust Pyramid Awards, Finalist
1995 British Standards Institution, Award for innovative use of materials, Finalist
1995 V & A Museum/Makower Trust Commission
1997 Business Start-up Award Scheme, Clerkenwell Green Association

Catalogues, Publications

1995 Royal College of Art Degree Catalogue
1995 Design for our Future Selves Catalogue
1995 P & O Makower Trust Newsletter
1995 Obverse, Reverse, RCA/Royal Mint Catalogue

Work in Collections

1993 Loan to KIAD Collection, Rochester, Kent
1996 Loan to BSI Head Office, Chiswick, London
1998 V & A 20th Century Silver Gallery, The P & O Makower Trust Contemporary Collection

note on anti-clastic raising

My work at the Royal College of Art concentrated on developing the technique known as Anti-Clastic Raising. In its most basic form, the technique is the direct opposite of Sin-Clastic Raising, the traditional method of hammering large metal objects.
Sin-Clastic is simply described by taking the example of a bowl. A bowl is formed by two invisible axes which bisect each other at 90° but curve in the same upward direction, i.e. their point of bisection is the base of the bowl and they both travel upwards to the rim of the bowl producing a 'closed' form.
Anti-Clastic is basically the opposite principle. The axes still bisect at the same point and at 90°, but travel in opposite directions, i.e. one to a surface point relative to the rim of the Sin-Clastic bowl and the other to a point below the point of bisection. The resulting form is 'open' and offers dynamic aesthetics on which I base my sculptures.
I dedicated my MA work to a systematic research of this technique, recording the hammering patterns, tools and the stretch of the material, which I hope will offer greater insight into an exciting area of the Metalsmithing craft. It is my belief that the development of this form of raising applied to small and large scale silver and goldsmithing is not only valuable to the development of my work but is of potential interest on an educational level, to benefit others and the craft.

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