Category : A4 – Reflection

A4 – Reflection on Tutorial

I enjoyed the online time spend with my tutor to talk through some aspects on materiality and body during the tutorial on my assignment 4 submission. As before, I wrote down the notes and my tutor amended. This way, I do feel more ownership of the development of my art practice.

Overall, I do feel more of a coherent sense coming through the work I am doing, and appreciated the comments from tutor: 

Your work continues to be investigative and engaging with an increased interest in the possibilities of materiality and process – pushing the boundaries of painting to include disruption/decomposition and impermanence as part of this enquiry. – Clare Wilson

.. and with regards to my blog:

Continues to be thorough/analytical and investigative with many exhibitions and study events as an active and engaging member of the student community. – Clare Wilson

 

Knowing myself for how wide my interest and curiosity can lead me into lateral areas, I tried to look at a few aspects alone  that started to came across my work since part 1 and more realised in part 4:

 

 – Fragmentation – Disruption – Boundaries –

– Vulnerability – Fragility –

– Transformation – 

 

The last word added by my tutor in our tutorial, resonating very well with how I do approach materials, not only through painting (latex) but also through drawing (with a large scale mud drawing aka painting as my very first parallel project for drawing 1)

As in previous tutorials,  a combination of project and assignment work (incl preparatory pieces) came across as more successful works that possibly do show a material narrative in itself.

A gallery view (slider, click on one image to open in lightbox view, Fig.1-6 – scale does not represent real dimensions):

 

Comments on these works:

  • Fig. 1 Stretch my Skin: a convincing transformation of materiality, crossing boundaries, and 
  • Fig. 2 Caught in the Net: more convincing as Fig.1, as it builds upon contrast, fragility, and tension. The stretcher less dominant in the other A4 work (Gaze at Me) and as in Fig. 4
  • Fig. 3 (Small Sculpture – prep work A4): intriguing contrast of color and opaque/transparent, organic touch; my tutor suggested that a series of smaller works exploring intimacy and overlapping forms could be a good work for assessment. The smaller scale allowing it to hold rather than to look alone. For me questioning scale: bodily movement through in a room, wall hanging to look at, hand size to hold and touch?
  • Fig. 4 (Latex stretch – prep work A4): too dominant stretcher, but interesting rendering of color and details when viewed with backlight. My tutor found the diagonal board line as interesting compositional element.,
  • Fig. 5 (Project 4 work): intriguing, less contained than the larger one I submitted from same project, with overlapping edges. 
  • Fig. 6 (Project 5 work): another intriguing work playing with contrast and bold colors. The latex net (lost as I used it in my assignment work, Fig. 2) works partly as a veil, concealing and revealing.
  • My piece from project 1, was considered as partly successful, as the glossy surface felt incoherent, and my use of rigid plastic bands could be possibly better replaced with a more informed transformation of fabric and interwoven threads. Key aspect here: the integration of materials including a backing support (what I used rather for transportation reasons only, as intended to be a suspended sculptural piece).

 

Aspects to keep in mind:

  • Color: latex might seem to dull colors, the original works became duller than seen on my blog or digitally (photo edit might have done some effect here as well)
  • Stretcher: Especially in the smaller works (eg. assignment work Gaze at Men but also Fig. 4) the used stretcher became to dominant and the ‘stretcher’ in itself is already loaded with art related connotations and critic. For me, the stretcher was kind of temporarily, I got rid of the bull clamps, but did work further to get rid of the stretcher as well. My earlier ideas were to install larger scale works in a room (nails, existing fix point e.g. hand rails). My tutor suggested possibly got use thinner objects, e.g. a picture frame. A question of composition and relationship. 
  • Found objects: I used e.g. paper chips or a found wine rack as stretcher. However, found objects do have some inherit and cultural connotations and through that some strong ‘personality’. Better not to learn too much or at all on them, better to work and transform ‘purer’ materials, e.g. fabric.

I choose latex as material, knowing well that it is an ephemeral material (not linger than one year due to chemical decay). Even, I couldn’t send in some works for its fragility to transportation (Fig. 2) or it vulnerability to tension (Fig. 1). The backing of smaller works, e.g. Fig. 3, didn’t hold well during transportation and unpacking. Overall, it left me to question how to proceed and whether alternative materials could be used. Good to have my tutor coming up with some suggestions:

  • Hostaphan (or Melinex): a flexible thin plastic sheeting on rolls to use as support for heavier, gestural marks with acrylic paint (combined with gel mediums)
  • Calico or more open weave scrim as fabric to be transformed, and with better duration 

Another material came to my mind afterwards, though ‘found object’ as well: gauze bandage that has a medical connotation. Previously,  used bandage as plaster bandage, but stopped working with them due to the specific performance of plaster (fragile, rigid)

Good to know: impasto gel matt dries white, impasto gel glossy dries transparent. The use of matt gave me some frustration during project 5 (see also Fig. 6) Turing me back to use acrylic adhesive for my transparent disks. At the end, it is like scrim, open woven fabric, but in strands. To try, if successful to move towards larger fabric or to use for small scale works (like bandage is an act done with the hands, to touch)

Parallel Project

We discussed my parallel project, and as my tutor was present at my prime screening at Toynbees Studios, London in 20th July 2019 (I am sop happy that she came), it was good to review together what worked well and what less.

Key aspects:

  • Experience of site: physical presence as different experience versus viewing on computer screen
  • Disruption of narrative through visual in combination with sound (music)
  • Connection: how to connect sequences and still keeping elements of disruption?
  • Sub-sequences as part of body of work, especially. considering gallery space settings
  • Importance to present the development of my project at assessment 

In my more comprehensive reflection on my parallel project I will look deeper into the remarks and my actions to do:

 

Critical Review:

Wirth regards to my critical review that is currently going through final draft phase, my tutor made the valid point, to stay focused and to relate clearly to my parallel project. I will submit for comment as part of assignment 5.

 

Conclusion:

  • Smaller works, perhaps in series, could overcome transport and fragility issues, and being presented during assessment convincingly (see Fig. 3). This could show an aspect of intimacy through the act of holding the work, rather than looking at it alone.
  • Alternatives to latex but still enabling material transformation and body (skin) connotation might be Hostaphan as support for a gestural acrylic paint or calico or scrim (open weave)
  • Found materials and might be less successful to use in my approach to material transformation and body due to their strong ‘personalities’ 
  • Transformation and integration with intention. Use of materials and ground in a coherent manner.
  • Painting or sculpture – an ongoing investigation for me,
  • My aim is still to submit for Nov assessment. My plan to submit assignment 5 is last week August. I will finally decide on assessment at that time (considering time for rework and preparation of portfolio)

Suggestions on art practitioners that could inform my working practice

see my separate blog post at: https://ocasp.stefanvisualart.com/?p=7084


The full formative feedback with amended notes from my tutor is available at: PDF 

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A4- Self-Evaluation

How am I doing against the criteria?

Demonstration of Technical and Visual Skills

During this assignment I was more concerned to move away from mere experimental testing of materials and to explore more certain features of one material, through combinations and through action onto the material. But also to see the performative aspect of the material as such. I became more aware of visual languages, of relationship between shapes, lines, edges, and surrounding space. At the end, I worked with an ephemeral material and even with vulnerable conditions of tension. I eventually became aware, that those aspects (ephemeral, vulnerable) could be explored through materiality and not through representational or figurative pictures. What I actually found rather intriguing having moved me away from the ‘hand’ in my previous assignment. 

However, at times I worked quite intuitively. Not sure that I made the best color choices, or best compositional expressions.  I took the risk to stop at some time and to reflect on possible further developments, making this assignment more of a journey than a presentation of finished work.

Quality of Outcome

I am not sure whether this assignment has the quality at all required. As mentioned before, it is ‘unfinished work’, though some works might actually be convincing as such (e.g. the last one with combined net and paint skin, or some smaller ones). Although, to communicate an idea through the work might be challenging. Intentionally, I tried to keep it more open. letting the material speak for itself. However, it might work that the tension and the various shapes and textures might actually convey an idea, but this would be rather the one created by the viewer.

Demonstration of Creativity

I was quite open to look at materiality as such, and curious to look beyond obvious combinations. Although, I was at the beginning quite unsure to use latex at all, I became more ‘complicit’ with that material, especially looking at from a stretching and vulnerability point of view. At the end, and digesting the results for a few days , I became more creative in thinking even beyond my rather small scale works and to embrace those at larger scale, focusing on a few aspects only (e.g. stretching) what even might be an idea of live performance.

Context

I looked at few artists, but decided not to look much deeper into them as I wanted a more fresh approach in my encounter with the materials chosen: latex. Although, I could have embraced more cultural connotations of how latex and stretching is applied to in various fields, I was aware of such connotations. However, I decided to work only with the material and the responses coming out of the performance of making (though the performance is not recorded as process, but more as intermediate ‘still’ works). Through my reading for my parallel project and especially for my critical review, I looked at skin as a term, and this informed my curiosity what could be done with skin. If I would have looked more into skin, I could work more with materials closer to skin as material, e.g. leather. But I decided to stay with latex, kind of surrogate. And certainly as vulnerable as human skin. Overall, I got some further ideas that is going to inform my parellel project. Especially, I like the experience made that my work is going to inform my critical review – and not vice versa.

 


Questions to my tutor:

  • Suggestions (presentation, assessment) for work that are under tension, vulnerable towards movement and especially heavy handling.
  • Discussion on multiple media (e.g. plus sound): I could embrace this to work in a gallery setting as the sound coming from the backside of the ‘still’ painting. How to get this virtually across?
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