|Student name||Susan Gilmore||Student number||301644|
|Course/Module||Painting 3 (new)||Assignment number||1|
Olivia Irvine – contextual studies tutor
Additional tutor comments
- Very good experimentation, this is where your strengths lie and you can harness this as you go forwards.
- Think about how the work might be, such as supports (plasterboard, plaster skim and so on).
- Address scale more openly and think about what affect scale will have on the mark and how you will deal with this in a practical way.
- Continue to make variations, more if possible please.
Michelle stressed the importance of reading and research at this stage to find out what is useful and what works.
To find out where the theory and practice meet.
Suggesting wide reading and search for what resonates, possibly using the local college library as a resource.
Requested that I send a copy of Olivia’s report (Contextual Studies) to try and ensure a sense of cohesion and complementary approach.
Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Looking at the mind map I made around the work and ideas I have been generating, Michele spoke of working out a methodology, taking a small piece and digging deeper. Like-
‘Traces’- Possibly looking at the work of Eva Hesse or Rachel Whiteread, and considering their methods.
‘Mud’ – the work of Richard Long.
Testing out ideas and investigating practice.
Trying to look at distinct areas of practice, specifics like the physical properties of willow and consider what it might mean for my practice, focusing down a bit further.
Experimenting that feels broad around time and elements, try to think about finding the umbrella that will harness the work together.
- From historical perspective perhaps look at Land Artists again, perhaps looking a Robert Smithson and his spiral jetty, what were his thought processes? How might you use these to make work with a more contemporary approach?
- ‘staining’- perhaps look at the work of Maria Lalic- about surface, making her paints.What does the use of staining mean for me?
- ‘using plaster’- think about fresco painting, how could these ideas be made to work now. How might it be relevant today Michele acknowledged my use of different supports and suggested organdie as a fabric that could be used with staining and paint. She suggested looking at work of Liz Harding a textile artist who works with organdie.
- Think about Elements, time, surface- how to tie them together to facilitate a ‘knowing sense of making’.
- Keep experimenting and work on ideas for major project.
- Try to be objective in order to recognise where the work is, bringing clarity to where it sits.
Re- proposal for Major Project- Try to shape it a bit more and work out a clearer description before next tutorial.
- Documentation clearly articulated, but bearing in mind that documentation is critical, work to expand on documenting process in order to clearly show the various stages of a work, possibly through the use of video or slide shows.
Advised to take a little more time to sure up your research position, look at historical pre-cursors such as Smithson and Long and find contemporary artists that share correlations to your interests. Think about the pond in which you want your work to swim, who would be in that pond with you?
Sketchbooks Demonstration of technical and Visual Skills, Demonstration of Creativity
- Continue to experiment, draw and try out in the way that you are doing.
- Be careful with your documentation, make sure that you thoroughly document the process stages.
Learning Logs or Blogs/Critical essays Context
Critical feedback given by Olivia Irvine.
Suggested reading/viewing Context
Highly recommend – Schama, Simon, 1996, Landscape and Memory, London: Fontana Press.
American Land artists of the seventies would be great to research.
Also some interesting artists (not necessarily painting) whose methods might be of interest.
Millar, Jeremy, 2005, an essay on Ori Gersht. The Clearing. London: Film and Video Umbrella. Catalogue.
Also look at Roni Horne and Tanyia Kovats, again not painters but their enquiry is and methods of enquiry really interesting, perhaps you might apply some of their inspiration to your own experiments.
Dieter Roth would be fantastic for you to look at.
Pointers for the next assignment
Spend some time now in trying to reflect upon and understand what you have been achieving in your very interesting and thought through experimentation.
Move forwards with your experiments into considering them as works in themselves, question scale, pairings, series and so on.
Aim to bring a little more coherency to what these works really are and how they could be seen.
Assessment potential (after Assignment 1)
You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements.”
|Tutor name:||Michele Whiting|
|Date||31st July 2014|
|Next assignment due||10th October materials /skype 13th Oct 9.30 am|