I started at Camberwell last month. Was on Painting but now i've moved to Illustration, which is much tougher (in a certain way anyhow. Painting's pretty tough as it is). Here's a video I did for a painting project. We had to 'assume' the persona of a fictitious artist from a specific period, and make a work as them. I think the idea for this was so we became less self conscious, which is nice, though the process ultimately showed how each person was unable to make anything 'as someone else' (I guess that may have been fairly obvious from the start, who knows). For mine I became Nigel Milwood, the name of a wirey looking man with wild hair and a nice suit I really did see in the walk-in clinic at Royal London Hospital in Whitechapel way back in 2008, when my ankle swelled up (see my earliest blog posts, avid readers! There's a drawing). He was reading a ladies magazine. Anyway, this guy 'went' to Camberwell back in the early 80s. He came from a strict Baptist family, who continued to live by candlelight way after the 3-day week had ended, captivated by the austerity. Milwood therefore had an aversion to artificial light. He was a painter, and was infatuated with Carravaggio, Titian, painters who utilised candlight to beautiful effect. He stewed upon this for some time when, finally, in his final year, Milwood saw the film Koyannisqatsi, a paen to the ravaging effect of mankind upon Earth. This galvanised him against technology further; paradoxically, he made a film to express his concern. It portrays lamps as sinister and sentient. The music was created using the tape recorder his father owned to record sermons with (sorry - father was a preacher).
It is highly implausible that this film and the music could be made using 80s technology. Also, there are many holes in this story.