P3- Major Project Assignment 3

Student name Sue Gilmore Student number 301644
Course/Module P3.Skype Tutorial Assignment number 3

 Student notes.

Additional tutor comments

 Overall Comments

A good hand in with much thought and reflection.

Overall the work is becoming more coherent and you have managed to think your way through the material, dealing with it in terms of groupings, possible series and projects.  The timing of the works (because of the growth of the willow) was one area that we discussed and what this may imply for your OCA assessment, at the next tutorial we must define some of these time frames further, so maybe you could try to think this through pragmatically and try to draw up some form of timetable for particular projects that this issue particularly relates to, We then may be able to work through assessment dates and so on. This can be done in addition to reflecting on the course criteria.

Although there was not a clear resolution in terms of specific projects, (except perhaps the collage piece) there is an overwhelming sense that the work is moving in the right direction. Consider your process within the work, where do you wish to make it explicit? Where does the process matter, or where do you wish it to remain ‘hidden’? Think about the intention of the work and what it is doing? Question how a viewer to the works would encounter them?

  •  By extension you could begin to think about how the work might be displayed in a gallery situation and by extension how it may be shown for the assessment event, and how this might be articulated to the examiners.
  •  Try putting different works together (as you have done for the collage piece) try out including your visible processes- growing, making charcoal etc etc- how can you show this ? Write a notes and place on your blog. This will allow you to make new relations between things and begin to see the works afresh.
  •  Think about the intention of the work and carry it through the production.
  • Look at series, diptychs, triptychs, their relationship to each other.
  • Look at installation.
  • Don’t hold back on applying ideas; work everything out physically as well as mentally.
  • Articulate what you are seeing and doing meaningfully.Test out an idea.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

 Student notes.

I outlined for M. the works I have made since we last spoke and referred to the research I have done in relation to other artists who use documentation in their work- Smithson, Christo, Roth and Newling, and how it might relate to my work.

M. suggested looking at Michele Brody- an American artist who has also used living materials in her work, but M. suggested particularly looking at how she manages her professional practice- how she ‘hits the nail on the head’, and also where she takes her work, the sorts of places it is shown might be of interest.

M. agreed that looking at John Newling’s work and consideration of his conceptual thinking does give me a way forward. We spoke about my ‘ponds and pools’ diagram as a way of bringing some order to my thinking about my work, and thinking about it in a certain way- a ‘willow world’ where different groupings relate to different things/ideas, with potential to build something larger. Having distinct working areas make it feel less unwieldy.

With regard to my plantation- M. mentioned Martin Creed’s show at the Hayward Gallery- where some of the exhibits were about collecting and collating.

We spoke about the collage I had made using photos relating to 3’O’s as a way of thinking about how to bring the various elements of my work together. M. did think there was a balance to it, and that although it was recognisable as organic in origin, it also had an ‘otherness’. She seemed to think it was a good way to develop a proper conversation, and suggested thinking about what I might call it, and how important is the title- could it be conceptual or factual?

We spoke about the work inspired by No.1- a painting in charcoal and acrylic. M. referred to the boldness and spoke of ‘bringing the process back to the work’. She talked about –

Growing the willow

Making the charcoal

Making a drawing

Showing the drawing

And the showing only being part of the overall work, of hauling the process back in front of the viewer, making drawing that animates the process.

This prompted me to talk about ideas I had had in relation to how you might go about exhibiting in relation to ‘making a charcoal sphere’ that would involve a performative aspect- M. suggested that it was important to test these sorts of thoughts, even if on a small scale. We spoke about the potential of film documentation.

Take what I have and dig deep.

We spoke about a check list of things we might consider looking at other artist work, and using that to consider my own work in an objective way.

  1. OneWillowTree, is that the piece? Or is it a process piece – to put with another work?

We spoke about music and the potential use of text- this is something I mention in my blog previously- there are words/ phrases that I have written in my notebook that keep coming back into my head- M. suggested listening to instinct, if its text- get it out- allowing intuition to come forward.

We spoke about my writing- in particular Burgin’s essay which M. felt was important for my work and it might be useful to take this inquiry a bit further, fleshing out some of the ideas, more to develop. She thought I was intuiting correctly but need to be able to back up more robustly. She felt that a deeper inquiry into the time between Modernism to Conceptual art might be fruitful, in particular groups Fluxus and those using early performative work, eg. John Cage. Explore, develop and reflect on that time a bit more. Look at London Co-op archive online for early moving image work.

We spoke about building up a bibliography, and lists of internet/video resources, and looking for good sources of academic texts for research.

I asked about when to start the Professional practice module as it is referred to in the text with the suggestion that after assignment 3 may be an appropriate time. M. agreed that it would be good to think about, and suggested that if I had worries or concerns it might be good to talk with Lea, at OCA.

We have set a date for assignment 4.

Skype tutorial; booked for Monday 18th May at 9.00am.

Memo- Would be a good idea to go through nuts and bolts of course criteria at next assignment.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

You have a lot of works on paper/documentation that you will need to collate into one place- begin to think about how you can make this consumable for the examiners and also think about how you can articulate your research journey. It is the time to now to begin to collate some of this all together into one place.

Learning Logs or Blogs/Critical essays

Context

Critical references are developing- keep this up and engage analytically with the work in relation to your own practice. Articulate your findings clearly and in a uncomplicated way. The references so far are good, now build upon them.

Suggested reading/viewing

Context

Continue with the references that you are using, read further and make more of John Newling. Also begin some tangential research  perhaps around botany, the science of growth and so on.

Pointers for the next assignment

Work consistently to progress your ideas, be methodical in your research and in articulating what you have been finding out.

Tutor name Michele Whiting
Date 14th March 2015
Next assignment due 18th May .

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