|4||Sue Gilmore||Student number||301644|
Your work is really coming together and it was very engaging to read and view on your blogsite. You are collating the work and in response your thoughts are solidifying which is great, continue on the pathways that you have set yourself and follow your intuition, there are exciting steps forwards (Trace drawings) that you have made and you have plenty to work with for the assessment. Time may be an issue as the type of work that you are doing is time heavy, so see how it goes. Flag up if you need to discuss this.
I understand your aim is to go for the Painting/Textiles/Creative Arts* Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Talking briefly about what I have done my updated artist statement and suggested series of works as outlined in my submission- to take the idea behind the ‘tophat’ work into a series of works informed by the group of 3 and 8 living willow sculptures.
- Michele seemed to think the statement covers nicely the elements that have come into my work, but added later that perhaps a few additional sentences may give clarity to the context.
- She seemed to think the planned series could give a concrete outcome to what I have been working through, and suggested perhaps re-visiting the work of A. Tapies.
- She thought the idea of a book was a possibility, with potential to include a photo collage to give a sense of the activity, and of the journey. And added that there may be alternatives with a similar outcome- online ways of making newspapers, and thinking about the materials ie. Recycled paper, etc, to fit in with the sustainability angle.
- M. suggested perhaps re-visiting Christo and Jean Claude to look at how they documented their work- they had a clear way of showing activity, clear reflection and use of thoughts.
We talked about the ideas of absence/ presence that I have been working around, probably related to things I have written in my blog, and that feeling of ‘shifting sands’. I’d been talking about the ‘wrongness’ in relation to my thoughts about the proposed series, and associated uncertainties, and somehow trying to work with this alongside, my own personal situation. M. seemed to think I was working at the forefront of this situation- experiencing ‘it as it is’. The experience is real. I spoke about my thoughts relating to ‘embracing the uncertainties’, which is something that had come up in my contextual studies, and M. suggested that this ‘not knowing’ was part of my methodology. M. talked about working in a paradigm- a lens looking at the world. M. seemed to think that I had good understanding of the context that underpins my work and that this would be strength in going forward in a more assured way.
We talked about recognising where the work is and developing that visual recognition in order to decide. M. suggested there may be pieces, like the ‘Hedge of Circles’, that might be a piece of work, even though it may seem insignificant. She suggested it might be a good idea to go back through the blog and just re-appraise things.
We talked about the video relating to the charcoal process and the ‘trace’ drawings. I spoke about how they had come about in addition, in a way, to the charcoal floor based works, and how although the charcoal pieces where exciting, these were so unpredictable and in a way took the idea of absence to another level- because they are dust, and almost not there at all. We both thought these would be an important addition to my main body of work. We also spoke about the difficulties associated with preserving them, and potential difficulties with presenting for assessment- M. suggested it might be good to discuss these sort of issues with the OCA well in advance.
We spoke about my potential body of work for final assessment and what it might entail. Absence of oxygen seems to be the umbrella concept under which the work connects. There are-
The living willow sculptures
Charcoal Paintings (Series of 11)
Seeds and Vessels
Documentation- ? books, newspaper, or framed pieces
Mapping relating to performative aspects- ? making as part of exhibition- Dieter Roth.
With regard to performative aspects, M. suggested looking at Allan Kaprow’s writing- ‘Art as life’ book, and suggested looking at Andrea Zittel as an artist who is ‘living her art’.
With regard to documentation, looking at the way architectural documentation is brought together- images, notes, diagrams, text spreads, newspaper cuttings, flow diagrams, etc
We talked about my bibliography, and the idea of enhancing it through annotations relating to each reference.
Through out M. stressed the importance of good clear, thorough documentation.
We decide upon a provisional date for final assignment in mid july.
Tutor notes from Skype tutorial
My notes concur with your notes above, in addition I just want to put in mind a few pertinent thoughts that will help you to go forwards.
The reason for being assiduous with your documentation is that the sheer activity of your making is ‘of’ the work. In other words every time you are planting something, experimenting with materials, drawing, making and so on, you are ‘actioning’ your art practice. This is the way that practice- led research artists work; they record their experiments, reading, engagement, in order to keep process transparent, to demonstrate that the choices made are backed up by sufficient knowledge, and also that knowledges are sought through the processes of making, so that the intellectual substance of the work shows through process, materials, mediums, critical engagement and so on. The context of the work is important as it allows you to ‘see’ clearly the area that you are in and the paradigm or lens that you are working through.
Your reflective writing will allow others into your process and this is an important factor for you.
- Consider how and if your reflective writing might be used overtly (as spoken about during your Skype tutorial)
- Absence of Oxygen appears to be the ‘conceptual heart’ of the body of work, and so you could consider using tyhis as the title for the whole.
- Consider trace paintings, living sculpture, charcoal paintings, documentation, performance drawing, seeds and vessels.
Your video work is potentially powerful but there are a few production issues that you need to think through.
Consider the framing before you video by making a test few seconds- this will allow you to re-frame, as the core of the work is sound but the framing at times awkward and distracting. Don’t worry about the sound so much, a bit of wind in the mike is normal- Aim to keep the visual information as clear as possible with the least distractions, as there are impactful moments that could go amiss otherwise.
- Consider what priority your video will play in your assessment and how you would like the videos to be viewed- this is part of deciding ‘where’ the work is, that we spoke about in your tutorial.
Demonstration of technical and Visual Skills, Demonstration of Creativity
Now is the time to collate disparate work together into a sketchbook format, if you are not using a traditional sketchbook aim to decide how these thoughts, sketches, photographs etc can be physically collated into something that can be handled by the assessors. Remember the architectural ‘book’ (handmade) that I showed you on-line, this may help you.
Learning Logs or Blogs/Critical essays
Your blog is well recorded, laid out easily for a reader to absorb and you are building a good archive of your research. Continue to work on this to enrich and deepen your context and reflective practices.
- Aim to write an annotated bibliography- I will send an example- it is incredibly useful, but don’t use up all your time doing it.
- If you are working with issues of sustainability make sure that any tangential research is visible.
Alan Kaprow. Art as Life. Andrea Zittel.
Pointers for the next assignment
Some hard work to achieve but you have an articulate and focused pathway in front of you, I have every confidence that you will achieve your goals.
Collate the images of your submission (of works you already know you want to submit) to a memory stick/blog so that I can look at the next assignment- we can then work from there.
Don’t forget to ask the OCA for advice about transporting and showing your more ephemeral works.
Look on the OCA site for examplars and so on. Importantly follow the assessment criteria closely.
If you have a problem with your dates (below) let me know and we can work it through together.
|Tutor name||Michele Whiting|
|Date||3rd June 2015|
|Next assignment due||July 13th 2015|