An examination of the work of the Ashington Group, the practicalities and position of Robert Lyon's tutelage

1. Through studying primary and secondary sources establish a clearer understanding of the execution and practicalities Robert Lyon's 'Seeing Through Doing' ethos and critically evaluate it's successes.

* Lyon's 1942 MA dissertation 'The Appreciation of Art Through the Visual and Practical Approach'
* Research other Informal Education projects undertaken by Lyon.
* Arrange access to Mass Observation archive located at The Keep, Brighton.
* Contact Bensham Grove and Edinburgh College of Art and research any other notable tutees, conduct interviews in order to garner available information about Lyon's teaching.

2. Consideration of the effect that the materials used may have had on the artistic progression of the Ashington Group and of the effects materials might have had both on the execution & appearance of the paintings and by extension, the potential contradictions of the 'Seeing Through Doing' methodology.

Beyond a few anecdotal lines in William Feaver's writings, there is little publicly available material or conservational analysis of the paintings themselves. Much could be learned about the painting methods by simple up-close inspection under conservational conditions.
* Working with Woodhorn Museum and Northumberland Archives, locate any primary accounts or evidence of material provenance (purchase legders, receipts etc. ) Locate the writings that the Group contributed to The Ashington Colliery Magazine, particularly Oliver Kilbourn's "An Approach To Modern Art".
* Analysis of the works and their physical composition, what are they made from and how, if possible remove works from their frames etc. Access any existing condition reports and conservational records.
* Research whereabouts of other extant works and arrange viewings.
* Contact Sarah Richardson Keeper of Art at Laing Art Gallery, access to Oliver Kilbourn work and any other work in their collection.
* Contact the Ashington Group Trustees, in particular William Feaver, for any potential anecdotal evidence of painting methods/materials etc.
* Arrange access and visit Crown Paint Archive in Darwen, Lancashire (original manufacturers of Walpamur) to gain a better understanding of what Walpamur was, what the colour range was, the binder, pigments and fillers used (all of fundamental importance to handling and appearance)
* Contact independent paint historian Patrick Baty, who has previously published work touching upon Walpamur.
* A call out to the local community in Ashington for anyone who may have memories of the group and their methods - Mik Critchlow, (documentary photographer) friend and relatives etc. (George Laidler, son of Fred Laidler, also a trustee)

3. Using the information gathered, make a body of new work using supports, methods and materials close to those of the Ashington Group.
The handling properties of commercial paints on cheap, ill prepared supports would be hugely different to those of good quality art materials. This has the potential to fundamentally question the 'Seeing Through Doing' methodology.

Having gained a certain confidence and approach in my own work using high quality materials, I would propose to switch to materials as close as possible to those used by the Ashington Group. Recreating supports (sized or marouflaged plywood, cardboard etc) painting methods and materials.
Effects, difficulties and successes will be documented as they progress.

4. Contextualise the Ashington Group with a broader consideration of the development of Informal Education provision in the North East historically and politically with reference to my own experience in the sector.