Still from The Stag Without a Heart, Stuart Croft 2010
With thanks for all images, anecdotes, insights and tributes from from friends, family, colleagues and students of Stuart.
They are listed below, in no particular order
They are listed below, in no particular order
Slideshow of images from the memorial event at Cecil Sharp House 31st March 2015. Photos by Sara Hibbert and Mette Boel
Slideshow of images taken of the Plaque Unveiling at Moving Image Studio, Royal College of Art on 30th June 2015. Photos taken by Genevieve Lutkin
Text read by graduating students in the Moving Image Pathway at RCA as a tribute to Stuart at the plaque unveiling on 30th June 2015
(Keira’s words)
Read by Verity:
Our Moving Image 'family trip' to Oberhausen started with the good intentions of a Buck's
Fizz at Cafe rouge in Gatwick airport.
Although we were in serious pursuit of cramming in as many cinema hours as possible there
was also the very important networking requirement to stay up to the early hours at the
festival bar with Stuart graciously introducing us to his friends and colleagues in the artists
film world.. Generally the final scene would see these new friendships dancing as one to some
fairly questionable euro pop.
Stuarts energy was impressive. We met as planned early each morning to his fresh face and
distinctive style, itinerary in hand.
It's fair to say this was a life changing trip for us all. Stuart squired the nickname of Big C and
all of us lovingly sharing in-jokes and impressions for the rest of our summer term. This as
well as Stuarts gentle nature saw us out of some existential rabbit holes as our friend and
tutor.
(Sara’s words)
Read by Gen(on behalf of Sara):
When I first started the RCA, it’s fair to say I found myself in a bit of a confused state, not
knowing where my work was going at all, and so it’s an understatement to say that Stuart
really helped me persevere through this confusion.
In tutorials he always kept the mood light, adding in anecdotes of his own experiences of art
education and beyond, whilst pinpointing so accurately the strong (and not so strong!) points
in whatever I was tentatively creating.
Stuart had an amazing ability to both challenge and encourage, through a combination of
putting you totally at ease, whilst also throwing in critical curveballs that would totally make
you reconsider and question.
One comment I’ll always recall and value of Stuart’s was in defence of beauty... that although
seduction and beauty could be controversial, they were elements I should grab hold of, not
reject, and to work out how to negotiate them rather than lose them.
Read by Keira:
This is something I was able to take forward with confidence when making later work. I think
this is one thing I really got from that first year under Stuart’s guidance - a growing feeling of
confidence in my own opinions and ideas - and I think I can say this is also true of many of
the students on the pathway.
Personally I know that something changed in my practice, and I am so grateful to his
encouragement for enabling me to lose the worry and anxiety - to focus on finding and
developing my own language. His position as both a tutor and a mentor, but also as and artist
and a friend who would join us all in the pub after a long day of crits, had an undoubtable
influence on this.
Read by Verity:
The Moving Image seminars presented by Steven were always popular and attended by
students across the royal college, dipping into the studio to learn about the many aspects of
artists moving image. In preparation Stuart would obsessively tinker about with the lighting
within the space, experimenting with an array of warmly coloured gels and creating the
perfect ambient mood for seminar viewing... They would be strategically placed about the
room and then seamlessly dimmed up and down in accordance to the video clips, with the
kind assistance of Roddy, George and Bruno.
Within the talks it was always a pleasure to see how both Steven and Stuart would share and
celebrate each other’s knowledge and talents, Stuart would often prompt Steven’s ideas
relating to the (sometimes quite baffling) theories of Deleuze, and likewise Steven would
reference Stuart’s films as part of his presentations. After the clumsy and slightly amusing
ritual of stacking chairs on departure, a glass would be shared at the Draft House where
further discussion of art, films and RCA life would be exchanged, Stuart’s reassurance and
good humour bringing humanity to what can be quite a challenging environment for an MA
first year in a new pathway!
(Gen’s words)
Read by Sara (on behalf of Gen):
Stuart had an intuitive feeling of warmth and welcome. This welcoming atmosphere began in
the way Stuart welcomed me onto his new course. I was initially struck by his light-hearted
yet attentive demeanour plus he seemed genuinely interested in me and my practise, a feeling
I think we all share as his students. After my interview with him that was it – I knew wanted
to be part of the Stuart Croft moving image revolution!
In our tutorials his jolly manner coincided with profound pearls of inspiration. He had a way
of directly channelling into you as a person aswell as your practise, simultaneously taking the
role of mentor, friend and often agony aunt! He always had me in fits whilst relaying his
surreal jokes and performing his impersonations of various regional dialects..Read by Keira:
Our trip to Oberhausen became somewhat legendary... Whilst getting a little lost on the way
to the airport in Düsseldorf, we ended up walking around the same block several times. We
joked, as it seemed we were physically experiencing Stuart’s obsession with the cinematic
device of ‘continual loop.’ Even with these jovial times, he always maintained a sense of
grace and professionalism; he had earned our respect as well as our friendship.
On returning home from this memorable trip, I couldn’t stop exclaiming to friends outside of
the RCA about how we have such an amazing tutor... And how lucky we were to have such
an inspirational individual guiding us through this important time in our creative careers. It
has been an utter privilege being part of his vision, and I have nothing but pride knowing I
was a member of this precious little family that he had created.
(Verity’s words)
Read by Gen (on behalf of Verity):
I feel so lucky and honoured to be part of the first group of students in the Moving Image
pathway, and to have had almost 2 transformative years under Stuart’s mentorship.
Starting the Masters on a brand new pathway was quite unnerving in the beginning. I had no
in and brought together, even if we couldn't quite understand, or trust it ourselves back then.
Whilst getting to know the other 6 members of the ‘family’ pathway, I was relieved and
excited that I was to closely spend the following years with such talented, generous and
lovely people, not forgetting the incredible technicians that offered such abundant support.
Stuart always joked later that it was his genius ‘master plan’ in bringing us all together as he
knew he’d created a dream team.
Stuart had such an inspiring vision for the course he established, and I’ll always thank him for
bringing us all together in lifelong friendship that will affirm his unique and powerful legacy.
(Keira’s words)
Read by Verity:
Our Moving Image 'family trip' to Oberhausen started with the good intentions of a Buck's
Fizz at Cafe rouge in Gatwick airport.
Although we were in serious pursuit of cramming in as many cinema hours as possible there
was also the very important networking requirement to stay up to the early hours at the
festival bar with Stuart graciously introducing us to his friends and colleagues in the artists
film world.. Generally the final scene would see these new friendships dancing as one to some
fairly questionable euro pop.
Stuarts energy was impressive. We met as planned early each morning to his fresh face and
distinctive style, itinerary in hand.
It's fair to say this was a life changing trip for us all. Stuart squired the nickname of Big C and
all of us lovingly sharing in-jokes and impressions for the rest of our summer term. This as
well as Stuarts gentle nature saw us out of some existential rabbit holes as our friend and
tutor.
(Sara’s words)
Read by Gen(on behalf of Sara):
When I first started the RCA, it’s fair to say I found myself in a bit of a confused state, not
knowing where my work was going at all, and so it’s an understatement to say that Stuart
really helped me persevere through this confusion.
In tutorials he always kept the mood light, adding in anecdotes of his own experiences of art
education and beyond, whilst pinpointing so accurately the strong (and not so strong!) points
in whatever I was tentatively creating.
Stuart had an amazing ability to both challenge and encourage, through a combination of
putting you totally at ease, whilst also throwing in critical curveballs that would totally make
you reconsider and question.
One comment I’ll always recall and value of Stuart’s was in defence of beauty... that although
seduction and beauty could be controversial, they were elements I should grab hold of, not
reject, and to work out how to negotiate them rather than lose them.
Read by Keira:
This is something I was able to take forward with confidence when making later work. I think
this is one thing I really got from that first year under Stuart’s guidance - a growing feeling of
confidence in my own opinions and ideas - and I think I can say this is also true of many of
the students on the pathway.
Personally I know that something changed in my practice, and I am so grateful to his
encouragement for enabling me to lose the worry and anxiety - to focus on finding and
developing my own language. His position as both a tutor and a mentor, but also as and artist
and a friend who would join us all in the pub after a long day of crits, had an undoubtable
influence on this.
Read by Verity:
The Moving Image seminars presented by Steven were always popular and attended by
students across the royal college, dipping into the studio to learn about the many aspects of
artists moving image. In preparation Stuart would obsessively tinker about with the lighting
within the space, experimenting with an array of warmly coloured gels and creating the
perfect ambient mood for seminar viewing... They would be strategically placed about the
room and then seamlessly dimmed up and down in accordance to the video clips, with the
kind assistance of Roddy, George and Bruno.
Within the talks it was always a pleasure to see how both Steven and Stuart would share and
celebrate each other’s knowledge and talents, Stuart would often prompt Steven’s ideas
relating to the (sometimes quite baffling) theories of Deleuze, and likewise Steven would
reference Stuart’s films as part of his presentations. After the clumsy and slightly amusing
ritual of stacking chairs on departure, a glass would be shared at the Draft House where
further discussion of art, films and RCA life would be exchanged, Stuart’s reassurance and
good humour bringing humanity to what can be quite a challenging environment for an MA
first year in a new pathway!
(Gen’s words)
Read by Sara (on behalf of Gen):
Stuart had an intuitive feeling of warmth and welcome. This welcoming atmosphere began in
the way Stuart welcomed me onto his new course. I was initially struck by his light-hearted
yet attentive demeanour plus he seemed genuinely interested in me and my practise, a feeling
I think we all share as his students. After my interview with him that was it – I knew wanted
to be part of the Stuart Croft moving image revolution!
In our tutorials his jolly manner coincided with profound pearls of inspiration. He had a way
of directly channelling into you as a person aswell as your practise, simultaneously taking the
role of mentor, friend and often agony aunt! He always had me in fits whilst relaying his
surreal jokes and performing his impersonations of various regional dialects..Read by Keira:
Our trip to Oberhausen became somewhat legendary... Whilst getting a little lost on the way
to the airport in Düsseldorf, we ended up walking around the same block several times. We
joked, as it seemed we were physically experiencing Stuart’s obsession with the cinematic
device of ‘continual loop.’ Even with these jovial times, he always maintained a sense of
grace and professionalism; he had earned our respect as well as our friendship.
On returning home from this memorable trip, I couldn’t stop exclaiming to friends outside of
the RCA about how we have such an amazing tutor... And how lucky we were to have such
an inspirational individual guiding us through this important time in our creative careers. It
has been an utter privilege being part of his vision, and I have nothing but pride knowing I
was a member of this precious little family that he had created.
(Verity’s words)
Read by Gen (on behalf of Verity):
I feel so lucky and honoured to be part of the first group of students in the Moving Image
pathway, and to have had almost 2 transformative years under Stuart’s mentorship.
Starting the Masters on a brand new pathway was quite unnerving in the beginning. I had no
in and brought together, even if we couldn't quite understand, or trust it ourselves back then.
Whilst getting to know the other 6 members of the ‘family’ pathway, I was relieved and
excited that I was to closely spend the following years with such talented, generous and
lovely people, not forgetting the incredible technicians that offered such abundant support.
Stuart always joked later that it was his genius ‘master plan’ in bringing us all together as he
knew he’d created a dream team.
Stuart had such an inspiring vision for the course he established, and I’ll always thank him for
bringing us all together in lifelong friendship that will affirm his unique and powerful legacy.
It’s really hard for me to write about Stuart, I guess writing this means saying a painful goodbye. Strangely our paths had never crossed until I applied for the post at the RCA, to join him as part of his expansion plans for the Moving Image Pathway. In the 6 months we worked together he was a shining star burning brightly - he was exuberant, charismatic, very funny and instantly made people feel at ease. From the first day I moved in to share his office I felt an intense positive energy around him, and almost immediately it seemed as if we had known each other for years. I was in awe of how he juggled everything so effortlessly and with a cheeky smile. He was gregarious and had a lovely warm manner with students, technicians and other members of staff, breaking down any hierarchies with a twinkle in his eye and some witty banter. He had great confidence in the potential of the student cohort he put together, and was genuinely curious to see what they will do next. Their brilliantly diverse practices are a reflection of his generosity of spirit and extensive understanding of artist’s moving image. We talked at length about his ambitions for the Pathway, but also our respective art practices, our plans for the future, and more personal stuff. It's hard to accept that a life so full of vitality could be cut short. He was would get so excited every time we talked about his feature film, I had total faith we would be watching the premiere at some film festival in the near future.
I feel immensely privileged to have become such a close friend within this short time span, to have played a part in his vision for the Pathway, and to carry his legacy forward. His premature death has left a gaping hole and he is sorely missed by us all. Aura Satz, Artist and Colleague at Moving Image Studio, RCA |
I emailed Stuart during my field trip: "I'm not feeling well mentally and physically on Mara Island.[…] Have you stopped your own project in mid-process? How do you think about feeling responsibilities to my subjects and people who supported me for the project?"
He emailed back in a few minutes: "I am just on my way out, here in London, but I will think about what's happening and try and get back to you tomorrow. Please look after yourself and take things easy. I am making a film but can definitely try and get back to you" Early the next morning, he sent an email again which was full of his wisdom, openness and warmth. The last part of his long email was that: "I guess the advice is to take your time, take some time out, concentrate on making yourself feel better, and then see how you can come to terms with the project. But I think the priority is you and making yourself feel better soon. I don't know if this is useful but let me know if there is anything else I can do to help. All my best, Stuart" Through his email, I realised how much he had cared about me and his warm encouragement enabled me to complete the island project. I would express my deepest appreciation to God for giving me the opportunity to meet him, work with him, and be one of his first tutees in Moving Image Pathway at RCA. Missing his creativity, his wisdom, his warm heart, his great sense of humour and his talk on CONTINUOUS LOOP, unbearably, Ellie Kyungran Heo, Artist and Moving Image Pathway student 2014/15 |
My first encounter with Stuart was seeing his work at COMMA 39, I felt a real connection with it and ended up researching and looking further at his films. Little did I know that a few years later he would be interviewing me for a place on his Moving Image course at the RCA. Thanks to his faith in me and my work, my life and practice have shifted course. His dedication, humour and energy will be sorely missed. I feel proud to be part of his legacy.
Sam Williams, Artist and student MA Sculpture / Moving Image, RCA This is very hard for me to write... trying to stay strong for Stuart's sake and for what he always encouraged in me.
I feel so lucky and honoured to be part of the first group of students in the Moving Image pathway at the RCA. Starting at the Royal College on a brand new pathway was quite unnerving in the beginning. I had just started making videos a few months before my application to Painting at the RCA. My portfolio was all over the place, still not quite sure how to express my ideas, through which medium... I thought applying to the RCA was such a long shot and that i'd never get in. I had no confidence or much experience in film-making or moving image, but Stuart had seen something in all our portfolios that he believed in, even if we couldn't quite understand or trust it ourselves then. When I got an interview and met Stuart, he explained that the video stills in my portfolio were strong and that he was starting a new pathway and wanted me to be a part of it. I was so unsure and confused, but the way he spoke to me with such genuine belief and affinity, I really wanted to follow him, and develop my work with moving image under his guidance. How incredibly lucky I was. Over the next two years, he was there every week, always asking our opinions on how to shape the pathway, getting us the most incredible visiting lecturers, and compelling workshops, not forgetting the trips to the film festivals (always asking which were the ones we wanted to see and where we wanted to stay) and the pubs, dinners and parties. He respected us as fellow artists and friends. He supported me so much and my confidence and skills with moving image began to bloom. Finally this medium was doing everything I wanted- where had it been all my life? why didn't I meet Stuart sooner!? I began to get exhibitions, he was there at every one, supporting me, congratulating me, crit-ing me! There wasn't anyone else that I trusted so much to give me advice and criticism. I asked for extra tutorials with him with every new piece of work that I was developing as by now he knew me so well and what I needed to do with the work. He knew so much, so many film makers and artists that totally inspired me, were the ones he introduced me to. Over the summer he helped me get funding to do a residency, and put on a group moving-image exhibition in Lapland. He was always in touch throughout the summer giving me practical advice but also giving me confidence, always reassuring me, and letting me know how capable I was. All in all, Stuart Croft has totally changed my life. All the things he put in motion, nurtured and inspired has led me on to an exciting and promising future as an artist. I envisaged him present at all the next stages of my life as a true mentor and close friend. I've never had anyone else influence me in such a positive way in education. Because of him, I want to be there in the future for young insecure artists as he was for me. What a hero. Much love to the MI gang and to Big C, xxxxxxxx Verity Birt, artist and Moving Image Pathway Student 2014/15 Dear Stuart,
Hopefully your are a 2.0 spirit now, so this note is directly addressed to you. Please, once again, forgive the grammatical mistakes. I did not known you for very long. But I truly liked you. I liked your slight irony balanced with a subtle sensitivity. I liked your liveliness. I seems that sometimes we like people without really knowing them. I believe it was more something about charm. As describe by Deleuze about friendship in L'Abécédaire. Deleuze says that every relationship is built on a sensitivity to the charm of the person in front of you. I have been sensible to your charm. And I keep glancing around for it. I will keep your charming touch in "the" mind, through my work and thus through what has fascinated you ; through moving image. I am glad to have had the chance to know you, even if it has been fleeting. I hope you are well where you are, As you used to say, See you later, Bien à toi, Rafaela Lopez Until I met Stuart, I had never heard of Anges Varda or Ben Rivers, or Lux. I didn't really know what a bolex was... I probably had never opened a book on Deleuze.
As I stumbled across from the painting department at the RCA to the moving image studio looking a bit more confused each week, the return journeys became much steadier. The moving image became home. During each seminar at the RCA, he unpacked layers of thinking and perception of film to open up new ways of looking at film and thinking about it's place in the world. He made us curious, motivated and competitive. He gave me the inspiration to read books, spend hours watching films and probably bin my paint brushes. It is with great gratitude to Stuart that I am aware of a previously unknown world of film-makers, artists, writers and thinkers. He delivered the program at the moving image studio with great thought to each of us as students, a sense of humour and with a touch of class. Many thanks Stuart, you will be greatly missed. Laura Fitzgerald, RCA The closest I ever got to meeting Stuart was the Skype interview for the Moving Image Pathway in early March. There I was in my Brooklyn apartment, on a cold but bright morning, worrying the crackling noise from the radiator would ruin my interview. Three days later I received an unofficial offer from the Pathway. Truth is, if it wasn't for Stuart and an encouraging email response from him a few months earlier, I wouldn't have applied at all. I meant to get in touch with Stuart and thank him, but he left before I could even do that. I'd never been so upset about the death of someone who I've never met. In fact, reading this blog, I'm crushed. I was going to be his student, and he was going to be my mentor, and we were gonna have drinks at the local pub and talk about everything. I envy those of you who got to know Stuart. My deepest condolences. -
Qian Ma, Artist and Moving Image Pathway candidate 2015/16 I had the absolute pleasure of assisting Stuart on the OUTPOST Open Film programme in 2012. It was an enjoyable and inspirational few months watching, discussing, and planning the showing of artists' moving image. I had brought a heavy rucksack full of artists' moving image from Norfolk to the RCA Moving Image Studio in Battersea, where I would meet Stuart for the first time. Over a cup of coffee and introductions we witnessed a commotion over the road; a red-haired lady (British punk heritage icon) was wedging a traffic cone into an access barrier. I felt a little overwhelmed - out of Norfolk, in the city, having a coffee and a ciggie with an artist-filmmaker I admired, while watching someone largely responsible for British punk, casually being punk. Stuart offered to lend a hand. Before we got to work, Stuart suggested some ground rules for the day ahead: all films will be watched from beginning to end, and the viewing and selection process will take as long as it takes; coffee breaks will be frequent so that the work can be properly digested. By the evening we'd only managed to see half of the submissions. Happily, we planned another day of viewings. It was a memorable day and few months that followed. With a very modest budget set aside for the programme, it was Stuart's enthusiasm that made the programme happen. His generosity to OUTPOST and its members was above and beyond what we'd hoped for. We were moved by his sensibility and generosity - a welcome reminder for us, volunteers of an artist-run initiative in the process of funding applications, that enthusiasm is more valuable than money. Genuine people like Stuart are needed in that world, in all worlds, to inspire and make a difference. I hadn't known Stuart for very long, but it was clear from the short time that I knew him that he was a brilliant man - everything you'd hope for from a brilliant artist. I am so sad to have lost a new friend. But so very pleased to have known him a little, and privileged to have shared with him something that was so very important to him. Glen Jamieson, former OUTPOST gallery steering commitee member (2011-13) |
I first met Stuart as a tutor at the RCA and I was instantly enamoured by his warm encouragement and approachability.
We both shared a passion for film-making, but as I'd be moaning about the inherent struggle that entails, Stuart would often raise an eye-brow and laugh, showing me the light, humourous side of my concerns and reminding me that film-making is fun, interesting and exciting. A privilege and not a burden. A true comrade, teacher and friend who is already missed and will not be forgotten. Matthew Murdoch, film-maker Very sad news that filmmaker, artist and educator Stuart Croft has died, tragically young.
Stuart founded the Royal College of Art's Moving Image Studio in 2009 and in 2013 he established the RCA's new Moving Image Pathway. In 2008 he performed the external validation for the then new BA (Hons) Moving Image course at University of Brighton. His films always crossed the boundaries between art production and film production and pushed the limits of how an artist works with the cinematic and the subtle, buried languages of narrative film. Here's his vimeo page. Enjoy. https://vimeo.com/stuartcroft Matthew Noel-Tod, Moving Image, University of Brighton I first met crofters when he was at Fred Gallery around 12 years ago. I can honestly say there was a time when I loved that man with my whole heart. I am so lucky to have known him. Like all those friends he left behind, I feel like a brilliant and riotous light has gone forever.
Gilly Fox, Hayward Gallery Touring I can't remember when i first met Stuart but I know I've known him for a long time, and it was always a pleasure to see him round and about over the years. And I dont know why we didn't work together more over the years, of course now I regret this, but just recently we started a support group for artists developing feature projects which Stuart was part of and it was great spending time together and getting to know him better. He is someone that really made a significant contribution to our world of artists' film, as a maker who produced a substantial an impressive body of work, as a teacher, and as a supportive friend to many others in our community. I'm really going to miss him
Benjamin Cook, LUX Stuart Croft has died – what can I say?
He was a cool guy; hanging out with him was a charm. So smart and open, he appreciated the theatre of a situation and the potential for mischief. The conversation and his advice always mattered. I have a picture of him being still and focussed then bouncing around asymmetrically, hopping with enthusiasm at some idea. I once bumped into him on a bus, he’d just finished a day at the Royal College (in the moving image department where no amount of applause would be enough to credit his worth), and we talked each other into making a detour to an evening of Polish poetry readings. We didn’t understand the Polish words but there was more to it and the poet a great entertainer knowing sadness and humour, he blew us away. Sarah Jones, artist and ex RCA student Stuart and I were close, many years ago now, and had some amazing laughs and times together. The image of him that comes to me now is of that mop of curly brown hair, and his thoughtful expression, considering things intently in the sunlight in Kensington Gardens. He was very sweet and gentle and very funny. Stuart was going through some difficult times then, as many of us do at that age I guess, and was conflicted in some ways, but was always so clear about his work, his creativity and his passions. I’ve been so impressed by how he channeled his energies into his art, and how he really touched the lives of so many with his work and his teaching. I guess that some lives are just shorter, but it seems unfair. Sending my heartfelt condolences to his family and friends.
Alice Evans I first saw Stuart at the RCA during an open day in 2013. He was pitching a new Moving Image pathway that was coming in the next academic year. His talk was brief, but I was instantly sold.
I next saw him at my interview, and I feel extremely privileged to have become a member of his first cohort on the Moving Image pathway. Stuart was one of those very rarest of tutors. Not only was he amazingly inspirational, knowledgeable and talented, he would go above and beyond his job description in order to support his students and their work, often emailing and even telephoning me at evenings and weekends when he knew I was having difficulties in my personal life. Always so full of life, and always great to be around, he will be forever missed, but his legacy will live on in his work, and within the hearts and thoughts of those lucky enough to have known him. Stuart Layton, Artist and Moving Image Pathway student, 2014, 2015 Stuart Croft’s work was radical at Chelsea MA and I loved it. The sound in ‘Dead Happy’ ,the sense of place, the atmosphere worked at the start and has stayed.
His use of material, the play with television at the beginning, with advertising, then later with film, was never dry or tired, but instead fresh and exciting . Never film about film, but about really film about creating film within itself, Stuart’s structures come with extra fiction, tension, atmosphere, added fear and difficulty. I followed him all the way, looking at the work, recommending it to others , visiting the studio, and talking. We last worked together on a highly ambitious film of dance, created for ,commissioned by, and shown fantastically huge at Bloomberg Space. My last show there. Stuart’s attitude and therefore his work was often against the grain; grandiose, advanced, stubborn, fulsome, expectant, generous with sound, touch, colour and character. Internal as well as external, pushing a maximum view of what could or could not be made, he also influenced and encouraged others along the way. Sacha Craddock, art critic, writer,curator of Comma 39 at Bloomberg In 2003 I wandered into a gallery in Shoreditch and came across Stuart’s ‘The Hit’. I was instantly taken and had to meet the artist. I got in touch with him through the gallery and we began a friendship based on our mutual interest in the use of narrative and drama in artist film. He was one of the few people I knew working in this area, using cinematic codes and motifs and utilising industrial filmmaking processes. I had met a kindred spirit. I followed his work over the next few years, wrote a paper called ‘Disrupting Narrative’ which featured his work and asked him to present at a conference I organised on 'Narrative, Circularity and Aesthetic Translation' at the University of Bedfordshire in 2009. I went on to curate show around these interests, ‘Artists vs Hollywood’, and I invited Stuart to be part of it. The show toured internationally showing at NBK Berlin, The Globe Gallery Newcastle and at The Block, QUT in Brisbane and had very good responses. His work remains for me one of the few in the UK that challenge the structuralist, materialist conventions that have had such a strong influence on artist’s film in the UK. I do hope his legacy will continue with his students and others who are working in this area. Stuart was a generous person with integrity and charm and his passing is a great loss.
Joanna Callaghan, Filmmaker / University of Sussex |
September 1970 - I remember Stu coming home for the first time as a tiny baby , crying an awful lot ! Malcolm and I wondered what had happened and how had this baby arrived ........I was 4years old He was the best little brother you could wish for , and I count myself fortunate to have been his big sister for all his 44 years . The happy memories are countless and endless and we are all trying to cling on to them . I look back at all those photos and recall all the times together. These last 4 weeks have been so painful for myself , the family and everyone who loved Stu so so much , but everyone's support , messages , cards , letters , love and friendship means so much - thank you to you all. He is one special brother and the love will never end .
Sally Sparke, Stuarts sister
Sally Sparke, Stuarts sister
The photo is of Stuart drumming in the sixth form common room. I am singing. Darren Pickles is playing the 12 string. I think we are attempting Sunday Morning by the Velvet Underground. Stuart, laughing, is not taking it too seriously and drumming à la Bobbie Gillespie/ Mo Tucker. He insisted on the fluffy drum stick floor tom method.
(I am listening to the Jesus and Mary Chain now.)
Stuart and I were also on lighting duty for school concerts and the PUSS Comedy nights (The Pathetic Unfunny Stupid Show). Stuart even then had vision and very specific ideas. For our anti-apartheid concert it was to be back-lighting, shadowy figures and one focussed spot light. It needed to look like the Jesus and Mary Chain. And it did look great in rehearsals. Unfortunately on the night there were suddenly a few too many budding lighting technicians. The sliders were in demand and too many lights were switched on, the colour washes were mixed. He didn’t intervene. He just thought it all very funny. All that effort and… We were having fun it didn’t matter.
We did somehow get some A levels, but looking back it is all that other stuff that was so much more important.
After school we would sit in his Mum’s garden with Emily Harrow, and others and sing. Our friend Nik remembers ‘no more maths’ sung post O-level by the three walking down the road.
A lot of ‘chop’ measuring went on. We would grab each other’s cheeks and pull them and count. I think Stuart invented this important activity. Becky the dog had the biggest, but Stuart’s were pretty good too. (Darren’s might have had the largest human chops.)
It was always sunny in the garden.
I wish i had my Lake District photos to hand. We all camped at Side Farm, Patterdale on a few occasions. Grisedale. . . I was last there 2013 and would not have been surprised if I bumped into Stuart. He was very bump intoable. I went to his graduations and some of his shows and he used to come and see our band but for a long time he was everywhere, at so many openings, being supportive of his friend’s artistic endeavours and having fun.
We did somehow miss each other in the past few years. I now realise that crossrail knocking down our old studio building stopped his show invites arriving. And for some reason I thought he was in Berlin. I also now realise he was very busy.
And so I last saw him for a hung-over breakfast. He had come to see us play and had ended up staying on my boat. We had stayed up drinking wine, listening to music and watching videos and bits of film and laughing.
And now it won’t happen again. It is very difficult to understand. So very sad.
[email protected], childhood friend
(I am listening to the Jesus and Mary Chain now.)
Stuart and I were also on lighting duty for school concerts and the PUSS Comedy nights (The Pathetic Unfunny Stupid Show). Stuart even then had vision and very specific ideas. For our anti-apartheid concert it was to be back-lighting, shadowy figures and one focussed spot light. It needed to look like the Jesus and Mary Chain. And it did look great in rehearsals. Unfortunately on the night there were suddenly a few too many budding lighting technicians. The sliders were in demand and too many lights were switched on, the colour washes were mixed. He didn’t intervene. He just thought it all very funny. All that effort and… We were having fun it didn’t matter.
We did somehow get some A levels, but looking back it is all that other stuff that was so much more important.
After school we would sit in his Mum’s garden with Emily Harrow, and others and sing. Our friend Nik remembers ‘no more maths’ sung post O-level by the three walking down the road.
A lot of ‘chop’ measuring went on. We would grab each other’s cheeks and pull them and count. I think Stuart invented this important activity. Becky the dog had the biggest, but Stuart’s were pretty good too. (Darren’s might have had the largest human chops.)
It was always sunny in the garden.
I wish i had my Lake District photos to hand. We all camped at Side Farm, Patterdale on a few occasions. Grisedale. . . I was last there 2013 and would not have been surprised if I bumped into Stuart. He was very bump intoable. I went to his graduations and some of his shows and he used to come and see our band but for a long time he was everywhere, at so many openings, being supportive of his friend’s artistic endeavours and having fun.
We did somehow miss each other in the past few years. I now realise that crossrail knocking down our old studio building stopped his show invites arriving. And for some reason I thought he was in Berlin. I also now realise he was very busy.
And so I last saw him for a hung-over breakfast. He had come to see us play and had ended up staying on my boat. We had stayed up drinking wine, listening to music and watching videos and bits of film and laughing.
And now it won’t happen again. It is very difficult to understand. So very sad.
[email protected], childhood friend
I was so saddened to hear about Stu. we were at newcastle polytechnic together for 2 years from 1990-92 and were flatmates in our 2nd year before he left to go to london. I have one of his paintings he gave me still on my wall after all this time, it is still my most favourite thing. Things I remember about Stu: His funny sense of humour, his walk, his funny faces, his wooly hat. when he was put into sculpture (much to his horror) when arriving at polytechnic on the first day, making a sausage in clay then going home. his margarine paintings that stunk the whole studio out for weeks. finding a mouse in his bedroom. As you can see, he meant a lot to me even though I haven't seen him in over 20 years. What a wonderful man.
Jo Sharpe, friend
Jo Sharpe, friend
When I first met Stuart in the lead up to my interview for the Moving Image pathway, I was quite simply a blabbering, nervous wreck. He instantly put me at ease. His wit, compassion and soft yet reassuring tone were all testament to this. He provided an environment that allowed people to talk about their work in a comfortable and unassuming manner. An environment, in which we were rightly challenged, but provided with a distinguishable amount of encouragement, belief and knowledge.
I struggled with certain issues in my first term, but Stuart displayed an immense sense of compassion and understanding that gave me the confidence to take hold of my practice and to fully engage myself without the burden of these issues. This meant more to me than he could ever know. Stuart saw a potential in my work that allowed me to realize a newly found confidence that otherwise I genuinely don’t believe I would have pursued. I had at times considered a route without the hardship of being an artist, but I think Stuart instilled a sense of intrigue and admiration in me that left me feeling excited and determined to see what I could do. For this, I am eternally grateful. I feel immensely privileged to have been under his influence, and to be around all who are a part of his legacy. I’m sure I speak for all in saying that we hope we can make him proud. Thank you Stuart x James Ravinet , MA Sculpture, Moving Image, Royal College of Art Stuart was one of the most inspiring and caring tutors I have had and dare I say, many will agree. I will remember him, his advice and directions for a long time to come as I have to this day. In my experience of Stuart, he was a joyful soul, an engaged and engaging spirit. Hardworking and attentive, a man on a mission! He has inspired many, and has certainly installed a pathway to re-understanding and addressing moving image and film in art education, specifically at the RCA. Many thank yous to him, for all he has done and left behind.
My condolences for everyone who is mourning his bright soul. Maria Luisa Mota, MA Sculpture, between 2011-2013 RCA |
The first time I met Stuart I was greeted by his friendly, warm welcome at my interview for the Moving Image pathway at the RCA. Throughout the coming months I would learn how supportive and guiding Stuart would be, to all of us on this new, exciting course.
Always so approachable and generous, he would go above and beyond, dedicating the time to listen, sharing his knowledge and drawing on his own experience honestly and openly. At the times when I was struggling with various aspects of making work, he would always draw out something positive and encouraging that I was able to take forward. He not only helped develop my confidence in so many ways, but also made me realise that making work, although challenging, could also be collaborative and a lot of fun. He introduced me to so many new artists and filmmakers, encouraged new ways of thinking about and approaching my work, and his comments and feedback were valued and respected enormously in group crits. He was a wonderful and talented artist and filmmaker, an influential mentor, tutor and friend to so many. I feel so grateful and privileged to have known him during my time at the RCA, and to be part of the moving image pathway, and I’ll always hold onto and remember his creative energy and humorous take on life. His legacy and presence will continue to live on through his incredible work, and in the memories of those who knew him. Thank you so much Stuart, you will be greatly missed. x Sara Hibbert,Artist and Moving Image Pathway student, RCA 2014-15 |
16mm Film/Sound workshop run with artist Anna Lucas, camera technician George Duck and Sound recordist Charlie Weisfeld and students at Moving Image Studio, RCA, 2013 Photos by Sophie Collier https://vimeo.com/movingimagestudio
I have this very odd and endearing photo of Stuart as my 'contact' image for him - which is strange as I never bother to do this usually but I guess it made me smile whenever we were in touch. It was taken on a wonderful weekend called 'Plan Sequence' with other film makers talking about work, relaxing, cooking and enjoying being out of London. It was quite a weekend for me as I also met Alice there who like Stuart would later become a friend and edit films with both of us. Now I find it a happy reminder of that weekend and Stuart too. Nina Pope - artist
|
Just a warm, giving, fun and original human being, and an exceptional filmmaker and artist. I always left our conversations feeling as if it was time extremely well spent, and a huge admirer of his unique disruptions of cinematic convention, and the way he thought about and through film and filmmaking. Forever missed.
Noam Toram, RCA I only knew Stuart for just over a year.
He was ALWAYS kind, always insightful, always in the moment, always full of energy. Always invited me into his space, wanted to know what I was up to, wanted to share stories. We shared a lot of stories in the short time I knew him. Only a few years older than me, and hailing from the same place, we instantly bonded. We talked passionately about films, about politics, about the good STUFF. Only last month he invited me to go with his students to the Rotterdam Film Festival, "as an honorary member", and the last thing I remember before the flight back home, was the two of us sneaking a quick roof-top beer at the airport, swapping stories and LAUGHING a lot. He was like that. I always thought him a bit of a dandy. An old-fashioned dandy. And I loved him for that. He was so honest, and playful, so genuinely full of life. You don't get that with people often enough. I'm totally gutted. He will be missed. He lived a life. "Better to burn out brightly, than fade away" Rest In Peace fella Robert Wilson, RCA |
Neil Zakiewicz and I met Stuart in the early 1990s through the art scene. Not being an artist myself, art events without Stuart and our other friends could be hard going for me. As soon as I saw Stuey I would always breathe a sigh of relief because I knew that we would always have a dirty giggle and a down to earth chat about something or other. His expressive voice and twinkly face thankfully doesn't leave my mind. We were lucky to have Stuart as a constant in our lives sharing so much together, but we were all unlucky to lose him too soon. Although Dr Seuss said rather wisely and simply: "Don't cry because it's over. Be happy that it happened."
From Jo Zakiewicz, close friend of Stuart. |
I got to know Stuart from working with him at LUX - putting up information about his films online. It was such a pleasure to get to know him and to enjoy a shared passion for cinema and art. He was so dynamic and engaged in his work and generous to those working around him. It is extraordinary what he achieved at the RCA and I have only the greatest respect and admiration. It was great to work with him professionally but he was also really good fun - someone to share a drink and a heated discussion with. I looked upon him as a friend - albeit one who I didn't see as much as I would have liked. We are all in shock - his passing is a terrible loss on so many levels. But his films remain as a lasting tribute to difference he made to all of us - as friend and artist.
Lucy Reynolds, artist |
I first met Stuart over twenty years ago, spending long days with him on top of a scaffold tower. He’d just finished his BA at Wimbledon, and I was working on my first exhibitions at Chisenhale Gallery. He was great to work with and such great company, full of ideas and energy. And then, later, Unit opened up a space just up the road in Bethnal Green, and so we were neighbours for a while (also showing their brilliant group exhibition Post-Neo Amateurism, including Stuart’s work, at Chisenhale). Since then I've run into Stuart at regular - and irregular - intervals, at previews - including his own of course - and other gatherings. He was generous and warm and good fun, and always compelling to talk to about art and film. I can’t believe I won’t run into him again. He’ll be missed.
Sue Jones, Whitstable Biennale |
I've spent this evening, Wednesday April 1st, 2015, in a bar in Soho. In fact I was in one of the last 'underground' bars going in Soho - Gerry's. But as I sat watching a 70 year old piano player, who'd played with Matt Munro, playing 'Stranger on the Hill' in a room with red curtains, and patterned floor, I found started to cry. I had to explain myself to my friends - "Sorry! Christ! You don't know him - but Stuart would have loved this!.." I say this, but I know after I heard the searing, beautiful, memorable, words of Steven Eastwood at Stuart's funeral yesterday that I am Stuart's friend certainly, and yes a colleague, but I know I wasn't one of those who formed Stuart's constant inner circle. But even so, he was, and still is, very important to me. Probably more than he knows.
I first kind-of met Stuart in the mid 2000's, when we both worked together on an ill-fated 'new media' course at a regional art school. But at that point we hardly ever met. A bit later I used to work at Parosol unit art foundation, and when a retrospective was planned for the Finlandish artist-film-maker Eija Liisa-Ahila I programmed some talks, events and a symposium, some of which I asked Stuart to take part in. Oh, the laughs we had! We immediately hit it off - big time! It wasn't just the shared subject of Eija-Liisa and her shared importance to us both, but it became clear that Stuart and I shared an interest in the rather denigrated place of narrative in artist moving image work, as we saw it. We talked about this and alternative, under-acknowleged traditions in artist moving image in the UK; about whether, if, there was another way of dealing with artists cinema. We found we shared a lot of common values in our interests, in our work. At another memorable event we were placed together on a side table at a dinner at an art gallery. But we shared a glorious, irreverent, evening. Constantly cracking jokes, secretly laughing at the social hierachies present that night, over the course of the evening the great and good came to look upon us with envious formality as the tears rolled down our faces at the jokes Stuart told. Clearly we had had the most fun in the room! And I had also made a friend. Soon after I learnt Stuart knew Steven Eastwood, who I had also worked with. I met with Stuart more times over the years, but never enough. A few years later, 2012, I went to do a scholarship at the British School at Rome, to kind of make an unrealised film the writer Luigi Pirandello had wanted to make. I asked Stuart to meet with me for advice as technically I felt out of my depth, and was not able yet to predict how to approach the whole thing. Of course, given his work, it turned out that Stuart was a complete 'Six Characters in search of an Author' fan. He gave me great advice, practically, formally, theoretically and also followed it up in the weeks ahead. And we also discussed his plans for his feature film, which it turned out had a number of secret connections to Six Characters. He'd been a Pirandello fan for years. We did meet over time, here and there, but especially now I can say - not enough. And that was often my fault. Life was busy for us both and it never occurred to me, probably to either of us, for an instant that there would be a time Stuart wouldn't be around. I cannot say now how much I regret that. Stuart was clever, smart, we know talented, supremely, impressively, charming, but now that this - to my eyes - robust vital man has been stolen from us I can say I regret that I didn't spend more time with him. If only I'd known his time would be so short! Stuart is on my mind all the time at the moment. Of course nowhere near those who were the closest to him; his family, his loves, Steven, and other of his closest friends - but even in these days so close to Stuart's funeral I keep feeling his importance to me is getting stronger and stronger. I think I keep hearing Stuart's voice. And tousled, dark haired men suddenly seem to be everywhere in London. I do feel the lessons of Stuart's positive energy, his inclusive generosity of spirit, will continue to pervade many of his friends, but as the days now pass I find I must state that Stuart position as an artist will - must - remain important to me: his values in coupling theoretical fiction with aesthetic, experiential encounter is important. Given everything, including his youth, and unexpected death Stuart's talent, humanity, and position as an artist was still in the process of being recognised at the time of his death. For whatever it is worth - I pledge to expand upon and properly consider the legacies of Stuart's work in the years to come. I want to continue to be a friend and supporter to Stuart long after his death. Stuart is not yet receding for me. And I don't want him to. Stuart seems to me a graceful presence in my life; spirited, principled, beautiful, talented, but with a humane lightness of touch that seems enveloping now. I am left feeling a presence of light. As well as teaching me about art, film, his greater lesson might yet be what he teaches me about friendship. At his funeral yesterday it was obvious yesterday he had a talent for friendship. Stuart was so very loved and as the years pass I hope that love gathers and deepens in complexity and loyalty.
Anne-Marie Creamer , friend, artist, ex-Adjunct Programmer of events at Parasol unit art foundation; Lecturer, MFA Wimbledon, University of the Arts, London.
I first kind-of met Stuart in the mid 2000's, when we both worked together on an ill-fated 'new media' course at a regional art school. But at that point we hardly ever met. A bit later I used to work at Parosol unit art foundation, and when a retrospective was planned for the Finlandish artist-film-maker Eija Liisa-Ahila I programmed some talks, events and a symposium, some of which I asked Stuart to take part in. Oh, the laughs we had! We immediately hit it off - big time! It wasn't just the shared subject of Eija-Liisa and her shared importance to us both, but it became clear that Stuart and I shared an interest in the rather denigrated place of narrative in artist moving image work, as we saw it. We talked about this and alternative, under-acknowleged traditions in artist moving image in the UK; about whether, if, there was another way of dealing with artists cinema. We found we shared a lot of common values in our interests, in our work. At another memorable event we were placed together on a side table at a dinner at an art gallery. But we shared a glorious, irreverent, evening. Constantly cracking jokes, secretly laughing at the social hierachies present that night, over the course of the evening the great and good came to look upon us with envious formality as the tears rolled down our faces at the jokes Stuart told. Clearly we had had the most fun in the room! And I had also made a friend. Soon after I learnt Stuart knew Steven Eastwood, who I had also worked with. I met with Stuart more times over the years, but never enough. A few years later, 2012, I went to do a scholarship at the British School at Rome, to kind of make an unrealised film the writer Luigi Pirandello had wanted to make. I asked Stuart to meet with me for advice as technically I felt out of my depth, and was not able yet to predict how to approach the whole thing. Of course, given his work, it turned out that Stuart was a complete 'Six Characters in search of an Author' fan. He gave me great advice, practically, formally, theoretically and also followed it up in the weeks ahead. And we also discussed his plans for his feature film, which it turned out had a number of secret connections to Six Characters. He'd been a Pirandello fan for years. We did meet over time, here and there, but especially now I can say - not enough. And that was often my fault. Life was busy for us both and it never occurred to me, probably to either of us, for an instant that there would be a time Stuart wouldn't be around. I cannot say now how much I regret that. Stuart was clever, smart, we know talented, supremely, impressively, charming, but now that this - to my eyes - robust vital man has been stolen from us I can say I regret that I didn't spend more time with him. If only I'd known his time would be so short! Stuart is on my mind all the time at the moment. Of course nowhere near those who were the closest to him; his family, his loves, Steven, and other of his closest friends - but even in these days so close to Stuart's funeral I keep feeling his importance to me is getting stronger and stronger. I think I keep hearing Stuart's voice. And tousled, dark haired men suddenly seem to be everywhere in London. I do feel the lessons of Stuart's positive energy, his inclusive generosity of spirit, will continue to pervade many of his friends, but as the days now pass I find I must state that Stuart position as an artist will - must - remain important to me: his values in coupling theoretical fiction with aesthetic, experiential encounter is important. Given everything, including his youth, and unexpected death Stuart's talent, humanity, and position as an artist was still in the process of being recognised at the time of his death. For whatever it is worth - I pledge to expand upon and properly consider the legacies of Stuart's work in the years to come. I want to continue to be a friend and supporter to Stuart long after his death. Stuart is not yet receding for me. And I don't want him to. Stuart seems to me a graceful presence in my life; spirited, principled, beautiful, talented, but with a humane lightness of touch that seems enveloping now. I am left feeling a presence of light. As well as teaching me about art, film, his greater lesson might yet be what he teaches me about friendship. At his funeral yesterday it was obvious yesterday he had a talent for friendship. Stuart was so very loved and as the years pass I hope that love gathers and deepens in complexity and loyalty.
Anne-Marie Creamer , friend, artist, ex-Adjunct Programmer of events at Parasol unit art foundation; Lecturer, MFA Wimbledon, University of the Arts, London.
I was lucky enough to get to know Stuart twice; as a friend and as a colleague.
Well, kind of. When I say ‘colleague’ I mean he would often saunter past the workshop, with a look of be/amusement at whatever dusty nonsense had my professional attention that moment. I actually met him a few years prior to that, at the Dog House in Kennington. I’d been told by a besotted friend there was this guy I had to meet: he was an artist from Leeds, who had studied at Chelsea and now worked at RCA in some capacity or other – all of which I could relate to, if not match. He wasted no time at all tearing into my (weirdly appropriated after a decade in Yorkshire) Northernised accent, while buying me drink. I argued with neither, but I think I did take the piss out of his shirt, and relieve him of several cigarettes. Since that evening we spent time together in London and wherever, including a particularly memorable New Years’ Day in Coventry, bless him. I never once felt ill at ease in his company, and I was actually quite fond of the way he insisted, through a mixture of habit and osmosis from his beloved, my friend, of calling me ‘Tommy’. I remember a sneak-look he gave us around what was about to become the MI Studios, of which he was immensely and justifiably proud, and made sure to introduce me to colleagues and students alike. To observe or talk to, he had a way of simultaneously seeming like he had nothing and everything on his mind/schedule at once; never but always busy. I flatter myself that we shared a sense of irreverent seriousness, or maybe serious irreverence; usually it was at the same time but then it barely mattered, as he could get on with most anyone. Warm, gregarious, passionate and full of all sorts as he was, I had some great times with Stuart, and was not at all surprised to see how many people turned up on Tuesday to say goodbye. We’re all better for having known you. Love you pal. x Tom Railton Occasional RCA tech & increasingly unconvincing Loiner. [I might’ve even watched one of his films once. Or twice – you know how they are.] |
In January 2015, The Royal College of Art held its annual First Year show, referred to as the Work in Progress show. This year, for the first time, the RCA School of Fine Art, held the interim show at the Battersea Campus. Although this in itself is significant in that the RCA had decided that they could risk not hosting this event at the Kensington campus, this event was important for other reasons also. The students were actively encouraged to show works that were not complete, works that were experimental or work that might have been literally in progress: and for the most part this is what occurred. And to great effect. Some students chose to show works that were in the very initial stages of development and some students showed works that were totally complete, and there were many works that were everywhere between those points on a spectrum of making and doing and thinking.
The artists who presented work in the Moving Image Studio were pioneers: this was the first time that the space was inhabited during the Work in Progress show. They used the building in an inventive, primarily installation-based manner. Importantly, the artists worked closely together in order to negotiate the multitude of demands that automatically need addressing when making something that contains both collaborative thinking and independent making, simultaneously. The resulting experience for audiences was downright thrilling. Unique. Distinctly and confidently pointing at the present and at a near future, too. Within the Moving Image Studio, Stuart was guiding, not directing, all of this. His belief in the people that he worked with was evident in his dynamic encouragement of their ambitions and the eventual realization of these ideas and aspirations into artworks. The evidence of Stuart’s intellect and meaningful influence was to be seen throughout the Work in Progress show earlier this year. There too, lies evidence of our collective loss. Stuart significantly influenced countless artists, students, colleagues and friends. We are less without him. Jordan Baseman, Artist and Head of Sculpture, RCA These images of Stuart are stills from Sheer Gravy a staged house party and film in the making, captured 6/3/15 and organised with Keira Greene.
I would say, of all the times I met and hung out with Stuart his playful and positive energy was evident on this night, it felt really great to have someone like him behind this quite weird but very fun piece of film Keira and I were making. I was really looking forward to him being part of the edit and his ideas on the finished work. His energy and voice will continue to push us into more extreme and daring filmmaking.... Natasha Cox. |
I first met Stuart about 15 years ago when my brother Tim and I were thinking about how we could present film in the landscape, the virtual image against the real backdrop. We brought Stuart into the project, along with Tina Keane, and the four of us went exploring in Devon to find suitable sites – eventually chancing upon a bleak military firing range high up on windy Dartmoor near Oakhampton. It seemed like a mad idea, but Stuart was well up for it, and enthusiastically drove the project along, suggesting artists we could show. We had little money – just a small grant, but Stuart’s energy helped to make sure it happened. We travelled down from London the day before Gate was shown in October 2002 to test the equipment and check the site. It was freezing cold up on the moor, and the mini-dv player we had borrowed to play the films froze up – so we retreated back to the town. I remember the four of us huddled in a Chinese takeaway, and Stuart with the player on his lap, wrapped in a jumper, nursing it back to life.
Stuart was such a warm and extensive character – he literally seemed to be everywhere, we kept bumping into him in different places - the BFI, Soho - and always his face lit up with a big smile, his eyes twinkling as though some mischief was being planned. I can’t believe that he is no longer here. He could be very funny, but beneath that was a seriousness and absolute integrity in his artwork and anything he did. He was a wonderful artist and will be so badly missed. Ben Eastop, Ideaal Art Projects |
I'm shocked and saddened. He was such a good friend and brilliant artist, filmmaker, thinker and teacher. It seems so unfair that he's died in his prime. I met him first in the 1990's when I worked for Arts Council England. Whenever we met we talked about his work a lot, always gossiped and had a laugh about something. The time Ben, Tina Keane and I spent with Stuart curating GATE - the programme of artists' films projected on to huge screens on top of Dartmoor late at night- was one of my most memorable projects. Stuart loved the whole experience and he really led the curating and programming of that project. Every time we've met since we reminisced about GATE on Dartmoor. He was a genuine part of London's art scene and he knew so much about artists and films as well as making his own brilliant films: it was always a joy to learn from him, to be with him. One of the best things was his humour which was sharp, quick, intelligent, sometimes dirty, but always there in his talking, lifting you up. I will miss him very, very much. Such a lovely human being. Tim Eastop, Arts Consultant & Producer |
Stuart was a truly great friend, there are so many things I could say about him that I don’t know where to start or how best to describe and celebrate such a wonderful and talented man. He had a constant exuberant positive energy that affected all around him, and I was in awe of his intrigue, knowledge and appreciation of the world. His cheeky fun smile and brilliant sense of humour always cheered me up, and made me laugh. He had a real ability to live life to the full, with boundless energy and a love of ideas, art, and of course film. Many an evening was spent in wonderful conversations with him that stretched late into the night. He was someone who inspired and supported me to go on creating, both to write and to make films. He was also someone who without any fuss understood my anxieties and insecurities and over the last six years has both listened to me and encouraged me to be more confident and comfortable in my own skin. He will be missed in so many ways and someone whose presence, strength and energy will continue to live on with all those who knew him.
Charlotte Ginsborg, Artist Film-maker
Charlotte Ginsborg, Artist Film-maker
Scanned working documents from a brilliant talk Stuart gave about his research process for his two channel film Century City. Summer Institute 2011 at Tate Modern, hosted by Tate Learning with artists Anna Lucas and Emma Hart.
Around 2013, I met someone very special. Stuart was such a talented and warm, intelligent friend and mentor who put the integrity of his own work and others above anything else. His passion and focus for the magic and possibilities of film was paramount and I admired his honest enthusiasm for helping other artists and creatives achieve their vision. We would spend many hours discussing the virtues of Godard, editing, the mundane, predictability and of course, layers, loops and the role of sound design in film. We would also talk about how to present film and its associated problems, often citing galleries with their reverberant concrete floors and lack of black-out drapes.
One lovely signature trick he told me about was that each film he made would reference not just his influences but would always acknowledge his previous project somehow… (e.g. count the references to Hit and Le Mépris in Century City!).
He was so excited about his feature film and other projects he was currently working on, it's sad to think these may never be realised.
His legacy, however, will continue in his works and his influence upon others; as should the Moving Image Studio which he tirelessly fought to establish. Having worked closely with him on many films and been introduced by him to some incredibly talented people, it is an honour to have known, learned from and been encouraged by him... and he always made me laugh…his passing is a great loss.
Doug Haywood Sound Designer
One lovely signature trick he told me about was that each film he made would reference not just his influences but would always acknowledge his previous project somehow… (e.g. count the references to Hit and Le Mépris in Century City!).
He was so excited about his feature film and other projects he was currently working on, it's sad to think these may never be realised.
His legacy, however, will continue in his works and his influence upon others; as should the Moving Image Studio which he tirelessly fought to establish. Having worked closely with him on many films and been introduced by him to some incredibly talented people, it is an honour to have known, learned from and been encouraged by him... and he always made me laugh…his passing is a great loss.
Doug Haywood Sound Designer
Exactly how humans encounter each other and how trust develops is unaccountable. Sometimes the prevailing circumstances look like they will fog the pleasures of friendship.
I first knew Stuart in 2009 and swiftly pricked his vanity by saying that I thought his approach to students and film on a back street in Battersea ‘would be a jolly good roundabout’. Since Stuart didn’t know me, I think he must have taken it literally, whereas I was genuinely applauding a hunch that he would be incredibly adept (and cool, too) at gathering and sharing and swapping and exchanging interests. I imagined him taking risks with technical procedures and impossible ideas - the historical sheet anchor of art schools. What he proposed was desperately needed, and what he did was greedily consumed, a genuine crossroads of imagination and energy.
I identified very strongly with him because he was unafraid to belong to himself. He was good looking enough to be self-possessed and to retain his humour and aplomb in malodorous circumstances.
We would often meet and parry and laugh and I was very touched by the way he would romance his own student time and its irresponsibilities. He understood exactly that innocence and ignorance could be extraordinary energisers in the right hands.
The way that Roddy, George and Bruno looked after Stuart was mirrored by the way he looked out for them. It’s a model of trust and respect and energy-making which swiftly imparts itself to the young, a classic teaching model, free of waggy fingers.
When Tom Saunders invited Stuart to do a public interview in May 2014 at the house of Sigrid Kirk, there was that refreshing feeling that intelligent humans can gather and share confidences and look at work in an atmosphere where admiration embraces the critical. It’s not difficult for artists to do this but it needs firm leadership. Tom’s penetrating interview style was met by Stuart’s delectable nonchalance. Maybe others can offer their perception of that generous atmosphere.
The triple-headed monster of righteousness, earnestness and worthiness is a killer for creative energy. Hilariously we sometimes call this ‘well-meaning’.
It’s great to meet people who really care and the special thing about Stuart was that he minded…
Richard Wentworth, Artist
I first knew Stuart in 2009 and swiftly pricked his vanity by saying that I thought his approach to students and film on a back street in Battersea ‘would be a jolly good roundabout’. Since Stuart didn’t know me, I think he must have taken it literally, whereas I was genuinely applauding a hunch that he would be incredibly adept (and cool, too) at gathering and sharing and swapping and exchanging interests. I imagined him taking risks with technical procedures and impossible ideas - the historical sheet anchor of art schools. What he proposed was desperately needed, and what he did was greedily consumed, a genuine crossroads of imagination and energy.
I identified very strongly with him because he was unafraid to belong to himself. He was good looking enough to be self-possessed and to retain his humour and aplomb in malodorous circumstances.
We would often meet and parry and laugh and I was very touched by the way he would romance his own student time and its irresponsibilities. He understood exactly that innocence and ignorance could be extraordinary energisers in the right hands.
The way that Roddy, George and Bruno looked after Stuart was mirrored by the way he looked out for them. It’s a model of trust and respect and energy-making which swiftly imparts itself to the young, a classic teaching model, free of waggy fingers.
When Tom Saunders invited Stuart to do a public interview in May 2014 at the house of Sigrid Kirk, there was that refreshing feeling that intelligent humans can gather and share confidences and look at work in an atmosphere where admiration embraces the critical. It’s not difficult for artists to do this but it needs firm leadership. Tom’s penetrating interview style was met by Stuart’s delectable nonchalance. Maybe others can offer their perception of that generous atmosphere.
The triple-headed monster of righteousness, earnestness and worthiness is a killer for creative energy. Hilariously we sometimes call this ‘well-meaning’.
It’s great to meet people who really care and the special thing about Stuart was that he minded…
Richard Wentworth, Artist
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So sorry to hear of the loss of Stuart. I didn’t know him well but when I encountered him during his last talk I admired the way he handled the situation he was in, what with his files not working whilst nursing a hangover from the RCA degree show.
He truly seemed like one of the good guys, a genuinely nice bloke. I’m sure he will live on through the work he has created and the students he has inspired. Jim Boulton, Photography Technician, De Montfort University, Leicester |
I just met Stuart that one time but I thought he was such a lovely person and really great artist. Drive In remains one of the best works we’ve shown here and I know it’s a favourite amongst many of our staff and visitors. He’ll very much be missed here.
Chris Tyrer, Digital Arts Manager, Phoenix Square, Leicester Stuart was such a shining light. He was such good fun and full of life. Fiona Kinnell, De Montfort University, Leicester
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Red shirt black shirt dot shirt. On my doorstep at Winslade, quite often, deciding which shirt for the evening occasion
Pain au chocolats and Power Tutorials Saturday mornings Cowboys burning sausages over a fire in the garden Stepping out for a quick roll up Warm, open relaxed introductions in the Moving Image Studio Hundreds of saved emails in my RCA folder A conversation in the garden at a party in Lyham Road in 2000 Sitting on the Serpentine Lawn amongst the building works, showing you a Chinese silk dress just bought from the charity shop on Kings Road. You liked it Catching the late night Northern Line home to Clapham North – how many times? Loyally returning Chirpsing at Chisenhale with Turvey, Dingle and Rickards The Malcolm McCluhan moment, introducing him, and the Outpost films to students in Leicester You always introduced me to the technicians My new wooden kitchen window inspiring the set for a film Talking about Aesops fables, and all the ideas for The Stag Without a Heart Great tales of Tianeman Square, and artists warehouse in China, or of hanging out in LA, and Berlin. Did I listen hard enough? Can I remember what you said? I was there, listening, but now I can’t hear you. I can’t remember what is important? It was impressive. It felt bright and admirable, and energetic. You liked Bunuel, all that Absinthe and hedonistic living. Lying on a bench with a huge hangover outside New Walk Museum, Leicester after your talk Buying dinner plates at Morleys. You loved the sales assistants soft brown arms. Your unusual technique of making stove top coffee made with milk instead of water Getting ready for the Brighton Photo Biennale in a cheesy B&B near the seafront Birthday round the big table at Gastro – meeting lovely new people Another Birthday in Soho, at a long table in the Gay Hussar I think And another – Piccadilly, that may have been Emmas. Shelves full of Audrey Hepburn DVDs Pastry and meeting Lucian at 10 days old to sign his identity for his first passport at Macaron by Clapham common Sitting by the desk in your window questioning that close up cutaway of hands in Drive In Pulling over in my car and chatting too long on Acre Lane after a workshop and getting a parking ticket for the pleasure Pulling up and hooting outside your door at 8am for the RCA commute – just enough time to plan and catch up on life before a day with students The night at the collectors house in Fulham with the Hammond organ and the Carl Andre piece on the carpet 1997? My fortieth birthday at the Prince Regent Pea and mint soup party at Winslade Road - more than once? Sofa lounging with Emma Bennett upstairs at Union, Danielle Arnaud days Clicking away at your desk in the office at Chisenhale A blue flying fork for Lucian’s first birthday Always having print outs when we needed them in workshops How pleased you were with the folding white table we gave you for your living room Dimly lit dark red studio at Tate Modern, so perfect for your unpacking of Century City Taking the stills for the ghost story film Sitting together to edit a showreel for you, way back in the days of a clunky PC and unwieldy tapes Upstairs in a bar in the East end – as a celebration and thanks for my Chisenhale show. I gave out home-made CDs. But we never really talked about music. With Neil, near Gimpel Fils, doing an art gallery day, mid week I guess. I think I was pregnant. In the basement mid week at Freds Gallery when the show was on – which? Century City I think. You offered me a print of the detective from the corridor in the show, but I never got it. I feel as though we had a drink the Great Eastern too, to see your prints up there, but now I can’t remember if I’ve fictionalized that from seeing the film and imagining myself in place of the actors, because I feel we were at the same bar in the same lighting. |
Eating marshmallows in the strip lit kitchen for a
studio party in Hammersmith when you were making work with tape and
fans, early 90’s. Dj Simpson and Rosalind Nashashibi were there too
Soho patisseries with the moving image ladies after a daytime screening Tutorials with those students too,(the MILs) in a wooden floored room at the Battersea Campus. You integrated so seamlessly with whoever was dining in the gorgeous staff common room. We revelled in the lunches served at polished wooden tables from under silver domes! BFI screen 1, London Film Festival last year. Perfect fish pie for dinner with Lothar Gotz, years ago. and even more perfect Christmas dinner with Charlotte, Steven and Fiona - homemade pasta parcels, that must have taken all day to prepare. I foolishly turned you down for a beer after the tutorials two days before the last. Our last chance. I keep mentally writing letters to you in the night. And writing a short story in the third person too, but I have forgotten that already. I can’t tell if I want the images and thoughts of you to go away now. I never thought of you or felt you so much when you were alive. We had a steady easy friendship.It was so uncomplicated. I guess we got on really well, but never fancied each other, so we never got into that particular type of tangle. And then we were both film-makers way back in the early 90’s, when LFMCo-Op were pushing artists to apply for funding. We were trying things out, not knowing the scene, making low scale work and looking at cinema, fiction, narrative, certain production values, discussing films, sharing techniques. You borrowed my Scoopic camera to shoot some 16mm, and were so excited by it all. Wasn’t it a pop video for Dear Thief – black and white, Vauxhall bus-station? I was never obsessed by needing to see you, it just happened, we saw one another enough, one way or another, an invite to a Private View here and there, a party, or breakfast locally. I guess we saw some films together, though I remember buying dinner plates at Morleys in Brixton more! I never understood the generosity you extended to me – I couldn’t understand what you were seeing in what I was doing, but you gave me so many opportunities and invitations: to present work to Chisenhale, and then RCA, for Outpost and Plan Sequence. You went out of your way for me so many times. I reciprocated mostly with plenty of bangers and mash! We didn’t need to acknowledge a mutual respect, I suppose it was just there – approaches and interests shared, but also such difference in our practice, as to have distance and independence. Our teaching routine – emphasizing those differences, giving space to each other’s way of working, building the strengths of both. It wasn’t always comfortable, we challenged one another, but for good purpose. You were always gracious, respectful, on time, reliable. You never blew me out at the last minute. You not my ex boyfriend, or a colleague I sat next to every day, we have never been on holiday together, we weren’t peers at school or college. I hadn’t met your family, though I think you met mine. We didn’t know all of each other’s friends, or all the details of life, but we covered a lot of ground over those twenty years Stuart. It was just steady and simple. I didn’t realize that – it never warranted consideration – because one way or another, we have just hung out and kept in touch, every month or so, maybe more, for twenty years. You were my platonic male best mate. You were just such a cool, dynamic, thoughtful, dependable, funny and sensitive easy friend to have around. How lucky I’ve been. How sad I am you’re gone. Anna Lucas, Artist |