Rhiannon Piper

What made you want to apply to your course and to Leeds? 

I've been a painter for much of my life, drawn to the materiality and process of oil painting, as well as the underlying materials and theory. After completing a diploma in Art & Design, I sought a degree program that would challenge and expand my practice. I chose the University of Leeds' Fine Art course for its well-structured balance of studio practice and theoretical study.  

The flexibility to explore areas like art history in the second year particularly appealed to me, as I was still exploring my postgraduate options at the time of application. Leeds' vibrant arts scene and the school's connections with local galleries and artist-run spaces also influenced my decision, as I wanted to immerse myself in a dynamic artistic community beyond the university walls. 

What aspects of the course do you enjoy the most?   

Two aspects of the course stand out for their enjoyment and impact on my development. First, the 'Art, Power and Portraiture' module deepened my understanding of art history and the complex relationships between artists, subjects, and societal power structures. This interdisciplinary approach, drawing from sociology, psychology, and cultural studies, reshaped my perspective on portraiture and significantly influenced my studio work, particularly my focus on self-portraiture. 

Second, the cross-level critiques in studio practice have been invaluable. Engaging with final-year students provided insights into artistic development that textbooks can't offer. These critiques fostered a culture of constructive feedback and pushed me to articulate my ideas more clearly. They also highlighted the course's strong sense of community, where knowledge and experience are freely shared across year groups. 

Can you talk about your practice now, and how the course / opportunities outside of it have helped you to develop? 

My practice centres on oil painting, deeply influenced by Baroque techniques and aesthetics. I've developed a hands-on approach, creating my own paints from dry pigments and preparing canvases, which connects me intimately with my materials. In recent years, I've focused on self-portraiture, exploring complex narratives about identity. This work confronts biases in self-representation, challenging me to critically examine my role as both subject and artist. 

The course's emphasis on contextualizing practice within contemporary art discourses has been crucial to my development. It has encouraged me to engage with critical theory and situate my work within broader artistic and social contexts, adding layers of meaning to my self-portraits. A significant project that supported this growth was a student-led conference on Leeds' artist-run spaces. Researching the city's cultural landscape and working with local artists and organizations expanded my understanding of the practical challenges and opportunities artists face after graduation. 

Additionally, my roles as Course and School Representative have been invaluable. Advocating for my peers has honed my leadership and communication skills, which have translated into greater confidence and intentionality in my artwork. Serving as an AA2A (Artists Access to Art Colleges) artist representative connected me with resident artists, exposing me to diverse working methods and providing insights into sustaining a professional artistic career. 

What would you say about the learning facilities in your School and at the University in general? 

The facilities at Leeds are comprehensive and well-maintained. Having 24/7 studio access is a significant advantage, allowing for intensive work periods and accommodating diverse working styles. Despite initial space constraints, the studios proved highly adaptable, fostering unexpected collaborations and a studio culture that mirrors real-world artist communities. 

The technical resources are equally impressive. The well-equipped workshops for printmaking, photography, and digital media encouraged me to experiment beyond my primary medium. The knowledgeable technical staff were always ready to troubleshoot and offer advice, becoming an integral part of my learning experience. The university library's extensive art book collection and online resources have been vital for my research, with special collections offering direct engagement with historical materials that enriched my dissertation. 

What other activities are available for students to take part in outside of their studies, and which ones have you tried out yourself? 

The School of Fine Art offers a range of workshops, especially in the first year, covering painting, printmaking, photography, and digital skills. I particularly benefited from an extended painting workshop with visiting artist Zoe Carlon, which delved into advanced techniques and materials. Her insights into grounds preparation and the chemistry of paint have had a lasting impact on my practice. 

Recently, a Fine Art Society was formed to strengthen our community beyond the curriculum. The society organizes studio visits, film screenings, and social events, improving cross-year cohesion and creating informal mentoring opportunities. 

I strongly recommend engaging with the numerous societies the university offers. For example, I was part of LUU Taekwondo for three years, serving as Captain and Instructor for two. This experience complemented my artistic pursuits in unexpected ways. The physical discipline provided a necessary counterbalance to studio work, promoting mental clarity and stress relief. 

Moreover, the leadership role developed my interpersonal and organizational skills. Managing a diverse team, organizing training sessions and competitions, and representing the university taught me valuable lessons in teamwork and commitment. These skills have proven transferable to my art practice, particularly in collaborative projects and when meeting demanding deadlines. 

How do you think the skills and knowledge you’ve developed at Leeds will help with your career plans? 

My time at Leeds has equipped me for a career in art restoration and conservation, fields that demand both practical skills and theoretical knowledge. The course's technical workshop offerings in painting, combined with modules that discuss theory and ethics, laid a strong foundation. I've secured an offer at Northumbria University's Master's in Conservation of Fine Art (Easel Painting), a direct result of this preparation. 

The varied perspectives I encountered at Leeds—from artists, historians, and conservators—along with the course's visiting artists, have been invaluable. These visiting artists expanded my knowledge of different types of practices and methods, exposing me to diverse techniques and approaches within the art world. This exposure has helped me understand conservation as not just a technical process, but one that engages with objects' cultural and historical contexts. 

One of the most important skills I developed through all the essay writing is conducting research. This skill is crucial for the investigative aspects of conservation, allowing me to delve deeply into the history and context of the artworks I will work on. 

What would you say to anyone thinking of applying to your course? 

Consider your motivations for pursuing a Fine Art degree. The course demands commitment, self-reflection, and openness to critique. Whether you aim to be a practicing artist, continue in academia, work in galleries or museums, or apply your skills in other creative industries, approach your studies with clear intentions. 

The course offers more than just technical training. It provides a multifaceted education spanning art history, critical theory, professional development, and hands-on experimentation. You'll be challenged to think critically about your practice and its place in the wider world. 

Be prepared for hard work, intellectual growth, and the occasional creative crisis—these are all part of the journey. The supportive community at Leeds will help you navigate these challenges, but ultimately, your development depends on your own drive and engagement. 

Remember that the value of a Fine Art degree extends beyond immediate job prospects. It cultivates cultural literacy, analytical thinking, and creative problem-solving—skills increasingly prized in many sectors. Your artistic training will shape how you perceive and interact with the world, offering rich rewards that, while not always quantifiable, are profound and lasting. If you're passionate about art and ready for an intensive, transformative experience, Leeds' Fine Art course offers a rigorous and supportive environment for your artistic journey. 

Read about Fine Art undergraduate courses