A3 – Self-Evaluation

How am I doing against the criteria?

Demonstration of Technical and Visual Skills

I explored new materials resonating with my sensibility of screen-based images: Perspex, Rhenalon, Mylar, and last not least moving images through recording and projecting. These materials are quite challenging from a technical perspective (how to paint, transfer paint onto, very long drying times) as well as from viewing perspective (front view, back view, illumination). I would not say that I master those materials, but I felt more at ease to take on these challenges and my assignment selection shows a more fluid approach with barriers, i.e. through layering and playing with layers to find meaningful compositions, and through repetitive cycles of doing making it nearly a habit. I applied some ‘printing’ aspects in my work, e.g. transfer, decalcomania, that felt meaningful to use. I struggled with the question of figurative versus abstract versus gestural painting, eventually found the layered ‘hand-gesture’ a balanced compromise in between that even triggered deeper responses from peers.

Quality of Outcome

Throughout this course and previous parts I went wilder and more experimental in my works that resulted in rather raw pieces, more sketches of work. For my current assignment that took quite some life no time due to above mentioned technical challenges (but not only) I was more concerned with quality of outcome. Informed by my public exposure since A2 with three exhibitions (!) I was seeking for more balanced compositions, quality of painting, aesthetic appeal of work and looking at settings that could be carried on to a gallery space. Therefore, I worked also with pictures frames to see whether the work would be supported by it – or not. In my six assignment works, this discernment comes through.

Still, considering the paintings challenges with Perspex and oil paint (that I prefer to acrylic for its body and more luminous colors especially in washes, but went mostly for acrylic at the end due to time constraints) I do not feel comfortable yet with the outcome. To get some technical advice would be helpful.

Demonstration of Creativity

With my constant curiosity and looking beyond paint in a conventional sense, I embraced moving images, and the performative aspect of light through projecting previous recorded painting images. I chose to work with transparent materials (Perspex, Rhenalon) to push my boundaries and to embed the ‘screen’ idea through its materialization. I engaged myself with performative painting by appropriating Richard Serra’s ‘Hand Catching’ video that informed my further engagement with my bodily representation of viewing and perceiving.

Overall, I did find resonance of my current work with my previous work from part 1 and 2.. Ideas and approaches through masking, transfer, folding, concealing, and disruption of picture plane and possible readings. However, I found it difficult to find a way to paint more gesturally.

I got new ideas (called spin-offs) for my parallel project where I started also a collaboration with a music student. In that sense a fruitful part of my course. Though, I need to move much faster now.


I started with my parallel project idea with my MRI experience and eventually settled in with an appropriation of Richard Serra’s video work through a staged painterly enactment of the gesture of catching – and failing to do so. The theme of failure continued since my assignment 1 work, now with the addition of my bodily sensation of dissociation while staging the hand. My assignment work was not only informed by my previous works (e.g. folding, concealing, performing) but also by new works especially inspired by Jaqueline Humphries from a technical-painterly approach and Helen Chadwick and partly Mona Hatoum for their conceptual but also embodied expression of ideas in creating composites. I tried to be more focused on artists and those mentioned will certainly continue to accompany my journey.

Eventually, peer feedback on my moving images and my paintings informed my continuation with the ‘hand gesture’ as an entry portal for the viewer to engage with the work, versus pure abstraction. Through this approach, I found a more stimulating and meaningful way to narrative through painting and a viewer’s agency.  I struggled with the notion of narrative as storytelling as a rather didactic approach.


Questions to my tutor:

  • I am still intrigued by my video recording of reflective projection (Performance – Unframed #01) I am struggling once again with the question on medium: moving images or painting. Whether and how moving images could be considered as an expanded field of painting. Where to look for artists?
  • The performative painting: context and artists working in this field? 
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