Tag Archives: tutorial

A6 – Reflection on Tutorial

Our main focus in the last tutorial for assignment 6 was the review of my discerned assessment portfolio and supporting works. There was not much to change or adjust. During the tutorial I came to the conclusion that I will take out assignment 3 completely as they would not fit that well with the more recent body of works related to transformation, vulnerability, ambiguity, disconnecting, and transparency.

Overall, my tutor acknowledged that

have selected well and decided to omit pieces of work that do not enhance the body of work. Selection is a crucial part of an artists practice whether it is for exhibition, framing or assessment. This is an important skill in objective decision making to master at all levels and will stand you in good stead for future courses.

What made this successful? I  can relate this to my self-reflection on what I want to do in my practice and how I would see my created works through this course from that viewpoint. Truly supportive, was here my latest reflective account, where I stated as title ‘Living through the skin of materiality’ and how medical imaging becomes materiality for transformation in my practice. 

Part of my assignment 5 submission was work done for project 5.1 (cut.up words) that I translated from the visible written text to the invisible speech. I reworked it after our previous tutorial as I felt this would be an important part of my materiality and space negotiations. I omitted the written text completely and the resulting reworked version Disruptive Space using visual material from assignment 5 Be small turned out much more successful as my tutor responded to. I also see this short audio-video work as an extension of my parallel project; stage 4 – it will go into assessment as supporting material for assignment 5, to expand the experience of that work.

Also during the tutorial, I suggested to take the wall frieze Be Large, that was still in my studio space, a leftover from cutting out the individual pieces for assignment 5, and to crop a similar size work that would match the size of my assignment 5 installment for assessment (Fig. 1)

Fig. 1: Stefan513593 - P2SP - Assignment 5 and supporting work : 'Be small' and 'Be Large' (each 60 x 80 cm)

Fig. 1: Stefan513593 – P2SP – Assignment 5 and supporting work : ‘Be small’ and ‘Be Large’ (each 60 x 80 cm) // the visible work and the invisible absence – traces of process – a material process

 

We discussed the other items for submission (see assessment link) and agreed that as supporting work my work for part 3,  a cut-put collage of my paintings of my painted enactment with a painted TV set, narrated through the gesture of my hand would be an important work to show. As this is only a photo documentation, the question is how to present (print out, scale, format etc.) Thanks to peer feedback and big thanks to Kate,, I am planning to make it as a leporello, embracing the tactility of folding and unfolding that appeared another important aspect in my practice (Fig 2)

Fig. 2: Disruptive Narratives' - photo documentation of my gestural investigation of my gestures. A multiplicity of layered realities through painting, photographing, re-painting, printing, collage - a bodily interaction with space and inside the space of the work

Fig. 2: Disruptive Narratives’ – photo documentation of my gestural investigation of my gestures. A multiplicity of layered realities through painting, photographing, re-painting, printing, collage – a bodily interaction with space and inside the space of the work // still to be made into something to touch at assessment 

 

My tutor highlighted once more the value of my sketchbooks, a way of interaction and experimentation that I loved doing since my very first drawing 1 course with OCA. 

You sketchbooks will be an important aspect of your submission so make sure you include several that show the development of your project ideas and your experiments with materials.

Parallel Project

Besides my submission we discussed briefly my parallel project with my tutor’s comment that it was well documented especially considering that mostly it was a collaborative work. I am curious to read what the assessment team will think about it. Otherwise, we discussed the content of it already, not to forget that my tutor was bodily present at Toynbee Studios, London – she just came for my project made with together with my collaborator Vicki.  In am still stunned by this.

Critical Review:

I reworked and edited-down ruthless based on out discussion during A5 tutorial. I felt all this makes sense, less informative and my tutor found it also a significant improvement compared to the revised draft before. 

Conclusion at the end.

Overall, it seems I am right track. It is time and space now to prepare and ship my assessment submission. Still a lot to do and not really much time left.  Nevertheless, I am quite pleased with myself that I actually made this happen to submit for November assessment. In the last weeks I was really not that convinced about meeting that important deadline. 22 months did pass, 22 months of working on and out exciting things. An intense course, but for me so rewarding. I should not forget that since the beginning, I actually had my first exhibition, followed by three more. I founded together with Emma, Jane and Peter the new OCA regional group Europe, that started out all in Switzerland. I took over the responsibility to relaunch the student-led magzine edge-zine through phases of finding peers willing and able to work together, and finally to get the first re-launch out into online publication (see edge-zine.com)

And last not least, I embraced the opportunity of the open call from the OCA program leaders Carla Rees and Caroline Wright to embark on an exciting NEw Music Collective / Fine Arts collaborative project and found in Vicki Downey an excellent sparring partner and we made this happen with a big life event at Toynbee Studios. London – what turned out the become my parallel project or this course, to be submitted for assessment.

And besides all if that I moved across borders and countries. established in a new business, built my dedicated studio space.  Time and space to meet the finish. Hopefully, begin December it will not turn me down (the assessment results)

Next steps:

  • Prepare submission, prepare the works, get it out to Barsnley
  • Relax – Breathe – Calm down

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

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A5 – Reflection on Tutorial

This course is now coming to an end, and I am quite satisfied with the way of working with my tutor through tutorials, from which I take the notes she is amending afterwards. I am very pleased to hear that my small intimate series of Be Small was considered as one of my strongest works so far (Fig. 1)

An intriguing, well resolved assignment – particularly the final 22 small pieces and their layering and ambiguity. Process and materiality continues to be explored with commitment and enthusiasm. 

 

I was concerned how the starting point for this series Be Large, would be received by my tutor, as iconoclastic work?  She made a very interesting comment that didn’t crossed my mind during the making, although I kept – more subconsciously than discerned – the ‘left-over’ (Fig. 2 )

Fig. 1: 'Be Small - Stretch Your Stretch' - a selection

Fig. 1: A5 -‘Be Large ‘ – leaving behind // photographed on lightbox – would white backing be sufficient or even more convincing? Howe do I want to present it? for assessment? in a gallery space?

 

Fig. 2: 'Be Large ' - leaving behind

Fig. 2: A5 – ‘Be Large ‘ – leaving behind – detail from entire wall frieze // the markings left, of cutting, traces of absence – an index of interaction – forgotten but documented 

 

I could relate my tutor’s comments on the gown to my previous work with the mylar-made patient gown. My rather intuitively made gown, a result from failure to get acrylic paint off Hostaphan foil, is possibly more of a comment and closing a loop back. There is certain playfulness involved and alongside a densely covered front making the gown rather opaque, disclosed. My tutor suggested to allow more ‘space and economy of mark and materiality’ informing the results. At times, it seems I overly enthusiastic and putting too much into one work (see critical review below)

My main interest is more in the two sides, the inside and the outside, the transparency versus the concealing. Thus, to develop it further, I would rather make it more disruptive, revealing more from the inside To make it more ‘haunting’ as my tutor suggested. This gown piece relates also to Tabitha Moses’s embroidered patient gown in the wake of her IVF treatment. Is painting more of a decoration and embellishment of fabric? For me not, the fabric and the painting need to be interwoven. one holding the other, both conveying more a disruptive sense of vulnerability. Overall, 

In the preparation of my assignment, I continued working on those painterly, material sculptures, created through pulling and stretching materials as paint (Fig. 3) . An exploration of visual but also embodied space, as the ones I submitted with this assignment were built on metal hangers as a second element to ‘stretch’- the hanger and the skin (acrylic, latex, or fabric) seeking a balance. It felt quite good to hear how my tutor could relate to these as convincing works in itself. There is certainly space to improve color choice (Fig. 3 right). But there is also the intriguing aspect how shape sand curves are interacting with the viewer and negotiating space. I found the chance of having an online tutorial quite important in order to be able to show pieces that were submitted online only. My tutor responded to no3 (Fig. 3 left) with a strong sense of fragility. It was made from jersey fabric, it is quite stable and robust (much better than latex that may collapse any time). I do find this interesting and important aspect, not necessarily of deceiving, but about not taken assumptions for granted.

 

Fig. 3: A5 - 'Suspended Skin' - hanger sculptures

Fig. 3: A5 – ‘Suspended Skin’ – hanger sculptures // left: No 3, middle: no. 14, right: no. 2

 

During the tutorial we discussed what is at the bottom of my practice and work. It appears clearer now to me how it continued to be a thread throughout this course. Although, some works might be rather of a tangent, e.g. the Object-box as a playful interactive art-game, getting more attention from children than adults.

Coursework

There was not much other practical work during this part (quite some writing had to be done) and the cut-up audio -video piece ‘Cut up my thinking‘ was received two-fold: the speech-scape as such through the distorted cut-up words were intriguing and hold enough space and attention. Whereas, the visuals, especially the moving written text and my hand were not convincing. To apply rather abstract painterly patterns in the background to allow the eye to follow while the brain is trying to catch auditive sense and meaning from the spoken disconnected words. The broken words and sense of dislocation, both key aspect in my practice, came across as effective and unsettling. ‘Unsettling’ appears also a key element in my work, as my parallel project showed. Overall, it is about disruption linear narratives, flat picture planes, and obvious meaning through juxtaposition and layering. 

Sketchbooks

My tutor made the comment that my sketchbooks are getting my ideas through a more intuitive response at times better across. I guess this has to do more with putting one idea alone onto one page, turn to the next, and put my second idea down etc. The space around my markings in the sketchbook seemed also less daunting, perhaps the edges of the book (A4 or mostly A3 sketchbooks) provide already enough structure and frame not to bother too much about.

Critical Review

As this came across through my artist statement, it became clearer to me after our tutorial that also the critical review is more about reflection on practice and less informative. My draft was conceived as too dense, clever, but too much, and too less about my own reflections. A clear message that I can relate to quite well. Time for my final draft to submit. It could be better to write more about my ideas as an enquiry. She also highlighted that my contextual notes, though brief, are very relevant to my subject matter and I could lean more on this approach.

In context of embodiment and aesthetics, my tutor suggested some rephrasing and provided a supportive article about Art and Embodiment

 

Learnings:

  • Allow more space and economy in my mark making and materiality approach to inform the results, less is more
  • Be less illustrative and obvious and embrace more ambiguity through opening more space
  • My enquiry of ideas should lead my writing, and my practice overall.
  • I am satisfied to have found finally a common platform through key elements that I can put in place: in my artist statement (done), in my critical review (to be made clearer) and in my visual works (some are there, some need adjustments, some are out – the latter is also quite a relief not to bother about any longer)

 


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

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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: http://ocasp.stefanvisualart.com/?p=7084


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

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A3 – Reflection on Tutorial

This time quite a different experience, having a tutorial with my tutor in London who also lives in London. I captured notes of our tutorial and she acknowledged my ‘thorough and detailed notes’ with adding only a few comments and references to art practitioners.

We went through the coursework and assignment works that I submitted all digitally, what certainly was a challenge regarding discerning materiality of thick Perspex with layers of painting on various levels through a digital reproduction as a flat picture. What brings up the question of presenting works in a convincing way and certainly to learn more from photographing sculpture and installation. Of the assignment series my tutor found no.6 Human and no. 2 Reaching, and possibly no. 2 Breaking Through the more successful ones (Fig. 1).

Stefan513593 - A3 - Reflection

Fig. 1: more successful pieces from assignment

 

I am not surprised that my sketchbooks and some more experimental works embracing more serendipity came out stronger. Overall, I do think that my wish to conclude and finish this assignment with a finished touch informed my work resulting in its containment. My struggle that resulted in my decision to continue with the figurative painted gesture was perceived as a bit too direct. However, I still think that especially human faces and hands could be portals to invite and engage the viewer.

I do think that the word ‚vulnerability‘ describes well my approach and attitude, although not so clearly verbalised by me. We discussed how I could trust more my instinct and put aside other thoughts coming from peer feedback. I could trust my discernment and to write this out more clearly , at least to myself when making iterations of work. It is good that my tutor noticed that all parts are there, to do more sketchbook works that would turn into larger scale work. What makes sense to me, as the dimension of my assignment work (40x30cm), dictated by what was at my disposal, felt restrictive. Restrictive not in a creative, opening up sense, but in a constraining, closing sense. Interesting for me to reflect more on what size is doing to my work.

Stefan513593 - A3 - Reflection - Ex3.1

Fig. 2: Paintings no 12 and no. 14 from Ex 3.1

 

Inspiring aspects my tutor suggested:

  • How gesture, mark making and materiality can relate to idea or subject matter (e.g abandoned patient gown maquette in Ex 3.1, perspex as material not fully explored?). Do think more about this relationship (would that mean a figurative oil painting on stretched canvas is less successful?)
    => Something I haven’t so much considered yet, but what feels exciting.
  • How fluidity and dissolution of boundaries appear to be more successful than ‘heavily framed’ imagery (e.g. Ex 3.3) of video work. (Fig. 3)
    => Can relate to this fully, as during the work I looked at Amy Sillman’s still images of her animated video work. While wondering about the motivation to print out stills of a video when there ‘apparently’ is not more visual information, I eventually discovered that a physical space the viewer can engage with, a physical and bodily approach to a narrative as one need to look and turn and move to see all, gives indeed much more further ‘information’. Last not least, I felt it was quite fun, and I would consider the exploration and construction as such even as a visual research process ! Definitely , an aspect I will explore more!

 

Stefan513593 - A3 - Reflection - Ex3.3

Fig. 3: Physical construction of narrative as installation , from Ex. 3.3

 

Points my tutor found important for me to keep in mind: 

  • To think about getting close-up and looking at areas or detail/pattern/texture and to avoid generalising (although, I don’t feel that my assignment work is generalized, perhaps abstracted from observation).
    => quite a valid point, a question how an idea or the material guides my exploration
  • To make more quick studies with paint, exploring the qualities of the painted surface/ edges, and using more transparency and layering (good examples: Fig. 1 and Fig. 2)
    => One more point where I found intuitively a more exciting expression of paint, but somehow as I did relate those to some of my earlier approaches I thought to make something different. Perhaps, this is a becoming of a voice, intuitively expressed strokes, marks, patterns, approaches that have a certain fluidity in it, alongside a sense of ‘being in my zone’

Elements that stand out for my tutor :

  • Paintings no 12 and no. 14 from Ex 3.1: my exploration of ambiguity through edges and fragments with a sense of vulnerability (Fig 1)
    => I agree that my sketches and studies that explored more the surface or the support and paint versus a rather observational ‘gaze’ turn out to be more successful, and for me also more engaging
  • Video flipbook narrative: my video work from Ex.3.4 was perceived as more successful and less confined, dissolution of boundaries.
    => This is another example of trusting more my intuition as resulting from peer feedback I decided to go for my other video with a closer look at , but perhaps more contained, as the first one picked by my tutor was certainly more about dissolving boundaries
  • Cast shadow of hand hand in video work with intriguing depth perception.
    => Something I would want to develop further.
  • Digital composite intriguing (Ex.3.4) as an intriguing and ambiguous set of surfaces and edges
    =>  I can relate this to my assignment 1 work of folded unfolded tissue with a fluidity of boundaries and borders. (Fig. 4). An approach I am still struggling with to find a meaningful development, is is digital? is it physical? how and what would I show in a galllery? a screen showing it or a ‘painting object’?
Stefan513593 - A3 -Reflection - Ex3.4

Fig. 4: Digital composite of painted surfaces from Ex. 3.4

 

On the technical side she suggested, considering my preference for oil paint and washes , to test Lascaux Aquacryl as apparently on can make transparent washes but also make thick pasty layers by adding impasto gel (closer to oil paint performance). I will give it a try in the next part and see whether it would work for me. Another material my tutor suggested is Latex, a material I do have first to find an entry into it to (unique properties?)

We discussed my parallel project, my intention to include my ongoing collaborative work music on same subject with Vicky Downey, and how my critical review will relate to my parallel project (thus, writing in first person is very appropriate, depending on what I have to say). I mentioned the deadline cumulating with a live performance of the collaborative project and was excited to hear that she would like to attend. This kind of excitement in such moments is what propels me forward. 

One main topic is certainly materiality and its relation to process and idea. The other ambiguity in my visual language alongside fragmented and disrupted space. To look at my work and my next steps from just these angles might results in more intimate approach.

With some more distance between me and my assignment work, and with a few study visits and workshops I attended in London that supported my reflection, a question to ask myself is what is my practice approach and what is my final work and message (if at all). I tend to move away now from conveying my embodied experience to the viewer (did I intend that they would feel, see similar things?), to consider this more as my own attitude in approaching and processing things, and to create works that would be more open ended and disruptive. Main aspects I want to avoid it being didactic, illustrative, or direct in that same sense.


Contextual suggestions of art practitioners:

  • Ally McGinn – Performative painting
  • Andrew Bick – Incorporates Wax, Perspex, acrylic
  • Alex Roberts – Use of transparent supports in her paintings.
  • Justin Mortimer – viscosity of paint.
  • Tania Kovats – Water 
    => Her book on ‘Drawing Water’ was suggested by my D1 tutor after I finished the course, as I was exploring mud and river through performative full body drawing
  • Hannah Maybank – latex/acrylic/watercolour
    => I already looked at her work in previous parts, intriguided by her muted color palette and sense of ambiguity
  • Alberto Burri
    => burlap and other materials used to overcome the conventional notion of painting on a canvas
  • Will Kendrick
  • Jason Martin,
  • Frank Stella 
  • Eva Hesse ( and here)

I will look at those artists more in detail during my next works and researches.

 


The full formative feedback (my notes amended by my tutor) is available at: https://drive.google.com/open?id=1-4OnH0ZP1ZejKWFJjqAOUVyAttBakhNb

  

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A2 – Reflection on Tutorial

This time we arranged an online tutorial, me writing the minutes, and my tutor amended the formative report. Overall, a great experience, sharp to the point, and with an effective discussion with a one hour timeframe. We covered assignment and coursework as well as my initial thoughts on my parallel project related to medical imaging and MRI with a sense of fragmented identity. 

Key aspects that I took out of our discussion:

  • ‘Stop working intuitively’, let the energy of moment not avoid a deeper reflection on what I’ve done
  • Work more intimately with the material qualities
  • Give the work more space to breathe (e.g. Two Folds of Folly as too dense, contrived, with too harsh contrast)
  • Consider more critical composition, relationships, contrast and edges, what is needed and why?
  • Explore further fragmentation, concealing, trapped, revealing, memory, and transformation
  • Line and tone, movement and color: some sketchbook pages did work well, e.g  Fig 1
  • Be less impatient, narrow down critically
  • Be more critical to what and how I am doing what

My sketchbooks did show some intriguing explorations, to be developed more deeply further. My learning log was appreciated for its comprehensive writing and well articulated researches and visit reflections, though less broad interest and deeper interaction with one or two artists might be beneficial. 

Stefan513593 - P2SP - Sketchbook - developing Walking Through Painting

FIg. 1: P2SP – Sketchbook – developing Walking Through Painting

 

Some works stand out for my tutor:

main reasons: 

  • balanced composition with good relationship between forms
  • engaging edges and shapes
  • visual flow through the work 
  • idea of trapped objects (partly concealed in Fig.2, in poured paint in Fig.3, around perspex in Fig. 4)

=> My tutor had some concerns re the bright red color in Fig. 2, too reminiscent of blood, violent? Something for me look at deeper, as in Fig. 3 I had a similar bright red. Perhaps, shape matters in how we connotate meaning to color. Fig. 3 is a rather monochrome relief painting (versus the other mixed with white one Preservation Box #2). Fig 4. 

My Object-Box, submitted for SHOWCASE, was questioned for its ‘crudeness’ (of made objects) and of a shift towards less personal.  What is ‘crude’ and what is ‘refined’? Is refined always better? Would one say that gestural abstract paintings are refined? Or is the perception different when we see actual physical objects? The crudeness a a mean to disguise, to reduce recognition was intentional  – but this was perhaps the reason for my tutor to respond to it as ‘less personal’ and and with less opportunity’  for further development of revealing and memory.

One point we discussed deeper was how important is the participatory engagement of the audience with my work. I will see next in oxo tower how the audience will interact with the Object-Box.

My tutor suggested the following..

Elements for further exploration

  • ‘Investigate composition alongside exploring media more critically’
  • ‘Transparency/opacity’
  • ‘Remember to consider edges and contrasts’
  • ‘Continue to disrupt the reading/narrative’

Notes on personal project

Fragmentation as I started already some exploration in my sketchbooks, as well ideas of coding and concealing. Along the way to consider format of presentation, e.g book, trapped objects, disrupted surfaces. Explore widely and refine when I reach project 4 ‘Thinking through PP’.

Conclusion: A deeper Reflection

 

 – Materiality – Depth – Relationship –

 – Contrast – Edges –

 – Fragmentation – Disruption –

 

Such are the keywords for me to keep not only in mind but also to take them in my making into account. There will be mostly a shift happening in how I approach my coursework and my assignment work: more focus, deeper, establishing a more intimate dialogue with my chosen materials and eventually let my ideas and thoughts merge with the appearance of the visual works created. 

Key thing clearly to develop in more steps forward and less multiple steps in parallel without moving forward. A serial versus a lateral approach?  Question would be when to shift from the latter to the first mode.

My overall experience with the tutorial and drafting directly the report for my tutor to amend is very positive of much learning support. I feel that starting from the discussion, through rough note capturing and writing down the report, I already learn more and deeper than just reading a sent report.

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