Posted in Assessment, Assignments, Coursework

Assessment

A selection of learning log entries

I have structured my blog so as to include Learning Log entries alongside the different Art and Artists Pages, Research Points and coursework blog entries. This section provides a set of quotes from these entries which demonstrate focus on the Learning Outcomes. Links to the entries are provided rather than using Harvard referencing for ease of navigation.

LO1 employ a range of techniques to investigate making sculpture

To add some strength I added a clay “rib” structure internally, which allowed me to build up to a reasonable height. … There are places where the work has started to collapse under its own weight, which could have been resolved by allowing the form to dry somewhat. … (Project 5, Standing stone: A first try)

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Posted in Assignment 5, Assignments, Coursework, Part 5

Assignment 5: Reflection

Overall, my tutor’s feedback for part 5 was very positive. (Tutor, 2021) There are, however, a significant number of points which are worth acting on as part of the preparation for assessment, with other having to wait for later courses, and to enrich my working practice.

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Posted in Coursework, Part 5

Into each life

Note: Updates to the article have been made in response to my tutor’s feedback (Tutor, 2021) on the work. These updates have been coloured to provide an indication of the response.

Fig. 1. Sculpture representing grief

I have been somewhat down recently, as I suspect has much of the country in lockdown. There is nothing really wrong, as I am healthy and have stayed employed throughout the Pandemic. There is still a feeling of loss and stasis, however, and in many ways it has inhibited my creativity. This work, however, flows directly from that feeling and is an attempt to capture it in a work. As part of considering the work I looked into sculpture that captured sadness and found some work that captures the concept almost too strongly. The work in Fig. 1. for example embodies the emptiness of grief, but is far too strong to represent this feeling. The work in Fig. 2, with its negative space tear, is more the level that I was looking for. I did spend some time looking for references on sadness or depression as a thematic idea but was more successful at finding literary references, such as Shumeiko (2018).

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Posted in Coursework, Part 5

Organic form

Note: Updates to the article have been made in response to my tutor’s feedback (Tutor, 2021) on the work. These updates have been coloured to provide an indication of the response.

The sculptural possibilities of organic forms fascinate me, as discussed previously. (Howard, 2020) I considered the works of Henry Moore (Howard, 2019a) and Barbra Hepworth (Howard, 2019b) in relation to these forms previously, but there are many artists working in this area.

Drawings and Maquettes

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Posted in Coursework, Part 5

Raven

Artists and Cultural Context

Fig. 1 The Raven and the First Men

An aspect of making art related to ravens is their deep cultural significance. There is raven mythology across a number of cultures – from Viking to native American. (Wikipedia, 2021) Fig. 1 shows an excellent work which is both contemporary and culturally embedded. The design and contraction of the work is described by Cross (1990). I find much to be inspired by with this work, from the mythological connection to the look and style of the finished piece. The work is visually engaging and has a deep embedded significance.

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Posted in Coursework, Part 4

Part 4 Reflection on Feedback

I have spent a significant amount of time reflecting on the feedback I received from my Tutor on Part 4 (Tutor, 2021). Overall I would say that the feedback was positive and encouraging. The general course of the work that I am doing seems to be productive, but with plenty of food for thought as scope for improvement.

I’ve decided to respond specifically to some of the comments from the feedback in the following sections.

Developing my practice

I’m pleased to see you have begun to develop ideas and highlighting specific areas of your practice to focus on. Subject matter and context will be key in underlining your practice, so pay particular attention to what materials you use in order to investigate your thematic ideas. (Tutor, 2021:5)

Try to maintain room for the unexpected and keep fluidity within your process to allow things to appear and change. Experimenting with processes will be important, allowing you to relinquish control of your materials and discover happy accidents, which can imbue work with unknown qualities. (Tutor, 2021:5)

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Posted in Coursework, Part 5

Considering part 5

A Note on Referencing: Many of the references I am including in this article are to my own work or works on the web. When doing this I include a link to the article directly in the text as well as in the article. This is purely for the convenience of the reader.

Focus

Going into part 5 I mentioned that I will need to focus on the following in Part 5 (Howard, 2020):

  • Research and Context, especially with respect to the influences on my work during the part;
  • Improvement in use of drawing, especially in larger formats and for experimentation; and
  • Working on an investigation and theme, as this is likely to result in better progression.

There is also significantly more scope allowed in this part to complete work according to your own inspiration. The following seem like the most relevant elements of the direction:

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Posted in Coursework, Part 3

Part 3: Reflection on Feedback

This is a direct reflection on the comments in the feedback I received from my Part 3 work. (Tutor, 2020)

Presentation of Work

… Perhaps you could experiment with colour here? Also documenting the work in more varied locations?

from Feedback on assignment

You have made good use of your garden and the space you have available. I encourage you to reflect on your potential audience, thinking about how you display work impacts the significance and meaning you’d like to convey. Explore how and where you display a work and how this can change its reading and intention. Is it possible to take your work to a particular location? Alternatively, create a gallery type setting, to document your work in a neutral space?

from Pointers for the next assignment

During this part I’ve actively used colour more in the different works, and have imaged some of the works in different spaces. These have included the walls of my home, and the use of a graduated photography backdrop for some of the works.

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