P3- Major Project Assignment 5

Student name Sue Gilmore Student number 301644
Course/Module P3.Skype Tutorial Assignment number 5

Conducted via skype and blogsite

Congratulations on completing the course!

 Overall Comments

I have really enjoyed viewing the blog, reading through your reflective comments and seeing the images of the works and their making and potential installation processes. This has become a great resource for you, and a good archive for the future.

A very good hand in for this last assignment: you have managed to think your way through selection for the upcoming assessment and have also edited your work down into significant pieces that articulate your concerns. You have also progressed works that point towards resolution- there is still a little way to go, but you seem very clear about the path in front of you.

Looking back you have worked hard to achieve your goals, through the hardest of times, and along the way you have made good and valuable insights, you have extended yourself and investigated your subjects with a thoughtfulness and purpose.

Also, your contextualization of your practice is sound and you have drawn from the practices of others and I can see the synthesis into your own work.

Some of the documentary aspects of your work needs some more care, such as the photographic records of the works, this aspect of your practice is important because of its process driven ephemeral nature, you are aware of this and I have detailed to you certain photographs that you will need to re-shoot or re-balance in photo shop or equivalent software.

Over time, I would suggest that a short photographic course could help you to resolve some of these issues.  With the video work, again I would look at ways of documenting, they are very honest documents of your process and as such, within the learning log are fine, but I do feel you might be able to use video within your work  to more effect, so maybe in time you could think about this aspect of your practice and how you could work with it further: it would suit the ephemeral and transient nature of much of your work. Think about Dieter Roth maybe – having already looked at his work- and consider what the documentary image has bought to his work.

So, for assessment: be very sure to articulate clearly your working methods- so that the assessors can see the ‘how’ as well as the ‘why’.  For instance:  the sketchbook work, which isn’t as definite in your process- write a clear statement as to why you work in the way that you do. Also make sure that your directions (for viewing the works) are clear and say what you mean them to say.

Imagine that you have two assessors and that you are holding the hands of both, showing them your journey, you wouldn’t want to not give them the information that they need to follow your thinking?

Well done also on progressing the pieces to this stage, when you reflect back you must feel strongly that you have managed to define your practice through this course. I get a tremendous sense of you having refined and thought about your ideas and their significance and that you are now feeling that you can move forwards and continue making in this way, as a (nearly, I don’t think anything is ever total) sustainable practice.

It has been a pleasure working with you and watching your art practice develop to this stage.

Feedback on assignment

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

  • Look at how other artist handle the problems of fragile works? Eva Hesse might be a good place to investigate- is there anything on-line maybe about transporting works, from a curatorial point of view.
  • Think about how the works are as a collective presence.
  • Keep in mind your ‘artistic point of view or position’, why are you coming at the work from this very particular position ( I know you have articulated this in the learning log) but keep it top of the mind.
  • Recognise how prescient the work is.

 Sue’s notes from skype tutorial assignment 5.

We looked at what I have presented for my final body of work, along with my artist statement, and discussed each in terms of how its presentation for assessment might be enhanced, and thoughts about how I visualise them being shown at exhibition and how this might work in practice.

‘That’s just how it is…’

In many ways these are ready to go. We spoke about packing them and taking care to protect the surfaces, and making sure they are unable to move around on each other, and providing instructions on how they are intended to be viewed.

‘Something, but nothing’

M.felt that this piece was, perhaps, not fully resolved. It is more the presenting of them that need attention. The photographs that document the sculpture gave little sense of context. So, we spoke about re-thinking the photographs, and revisiting that aspect to place it in context better, but also to try and communicate better the qualities of the sculpture. We also spoke about the associated video piece and how they would work together- these are things I need to think about and work through some more. To question again what I have done, and to think about how I make these things clear.

‘there are no words’

We spoke about my ideas for presentation- that there are a variety of possibilities, but I have come to thinking it should be presented as a pile of 16 sheets- it is a book of absence, each sheet contains an element of absence, but for the viewer only the surface is visible.

We spoke about adding something to give it more of a sense of being, something that lifts it away from the everyday.

 ‘It has come to this…’

 We discussed the difficulties related to presenting these works. The pros and cons related to presenting the ‘actual’ Trace Drawings- the benefits of assessors getting a ‘real, physical’ sense of the works despite potential damage by viewing them, against the logistics of getting them there, how the travel might effect them, the divergence from assessment guidelines- they are rolled up. We decided that if I am able to get them to Barnsley, it may be of benefit to submit the actual works, as I have also fully documented them photographically. To do this may require some negotiation with the OCA.

Other things mentioned were around presentation of photographs- some seem to have elements of colour cast- these may need attending to, to give a consistency through the images. We also talked about the photographic evidence for the floor works, and spoke about how they might be presented to give a better sense of how they were viewed in their physical state.

 Artist statement

M. felt that although the statement gives a good sense of my work, there is perhaps a need to be more specific about the actual media I have worked with- perhaps going back and looking a some other artists statements.

We also spoke about I might enhance the statement visually to give a better sense of the whole process of growing the willow, the garden as studio, the greenhouse as laboratory, through to the process of making charcoal and subsequent drawings, paintings and documentation.

Looking forwards-

 We spoke briefly about some possibilities, as I move forward onto working through the Professional Practice module-

  • Submission to exhibitions ie. Drawn at RWA
  • Artist residency- may be a way to resolve and test out process in practice.

 Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Much work re video and images exists outside of sketchbooks but make sure that you collate your preparatory works, in whatever form they possess, images/scraps/thoughts/charcoal try outs and son on, so as to enable the assessors to see your developments and understand your research journey.

Learning Logs or Blogs/Critical essays

Context

A rich learning log – I have enjoyed working with it as it represents an honest and genuine account of an authentic, growing (no pun intended!) practice.

Suggested reading/viewing

Context

Here is some reading that I hope you will enjoy in the future.

Betterton, Rosemary, 1996. An Intimate Distance, London, New York: Routledge.

Bishop Clare, 2005, Installation Art, A Critical History, London: Tate Publishing.

Freeman, Mark, 1993, Rewriting the self. History, Memory, Narrative, London, New York: Routledge.

Pointers for the next assignment

n/a

But do send me images if you need comment, and also do email me if you have any queries in the run up to the assessment.

We have spoken at length about requirements, make sure you double check what is needed- if you have any queries about taking the works and so on, please contact the OCA, they will be able to advise you.

It has been a pleasure to view your works and respond, and I wish you very well in your future artistic life.

Tutor name Michele Whiting
Date 28th August 2015
Next assignment due n/a
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