This is a direct reflection on the comments in the feedback I received from my Part 3 work. (Thompson, 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.
There is significant room for development in the future, however, and I intend to continue to develop my presentations skills for my work. These two images of the same piece under very different conditions show the difference that this sort of variation of presentation can make:
…I encourage you to keep using your sketchbook as a place for material investigation, thinking more about experimental mark-making as a process of building texture, line, form and shape etc., …from Sketchbooks
This, and similar previous comments, still have me stumped to a degree. I’m trying to fully understand how the advice fits into my process. Looking at Giuseppe Penone on the Tate Website, however, helped significantly. Fig 1 and 2 together help in understanding the concept, even though in this case the sculpture came before the sketch. I initially speculated, however, that the artist might have similar conceptual sketches from before Fig. 2.
The sculpture in Fig. 2 is rich in texture which is what made me think of the bark and trees. On researching the work, however, the image in Fig. 3 is actually a study which lead to the artist’s breath series, as discussed by the Tate (2020a). The title if the work in Fig. 2 is Breath 5, however, and so the fact that it relates to breathing and air flow should have been evident from that.
I have applied this advice to some degree in my work for the part, such as in the drawing and work shown below:
This is definitely, however, an area that I need to develop over time. Many of my works tend to be point-in-time creations, rather than the result of significant investigation and experimentation.
There’s scope to build on this analysis … Seek to unpack these in more detail, incorporating academic critique (referring to journals on the OCA/UCA online library for example), and focusing your reflection on how research is impacting on your own practice.from Research
The expansion of my research into different artists has lagged somewhat in this part. I feel this is partially due to my lack of train journeys during the 2020 lockdown. This was a time slot which I often used to further my artistic research, and especially to expand on the writing up of this.
I have looked in detail at the suggested artists to view, for example, but am yet to write up my thoughts on any of them. It seems strange to think that this is an unintended positive side effect of my spending so much time commuting to London – and the lack of that commuting has had an impact on my approach to the course.
During the next part, develop your work around a specific theme and explore this through finding relevant references to include in your research.from Research
Try developing a series of works in relation to an exercise/theme, making alternative versions of an idea and exploring different creative possibilities through experimentation, perhaps trying something completely different to challenge your boundaries.from Pointers for the next assignment
I started on this approach for project 7 – choosing a theme of the sea, and initially some eroded rock form near Silverdale which I found fascinating. I didn’t manage to fully keep to the theme, however, as I branched out to a lighthouse scene for the last piece.
For Project 8 the work (Howard, 2020) returns to being much more eclectic. I thought through various subjects, but failed to keep to a single theme of investigation when creating the pieces. I will need to consider this feedback again when planning part 5. This seems like a good opportunity to stick with a single theme of investigation and to work it through to a number of works.
… I think it’s important … for you to think more about how context can underpin your practice and help drive the conceptual parameters of your work.from Feedback on assignment
…You have explained your ideas … yet this has potential to be developed and explained with more clarity and context.from Feedback on assignment
…You describe some of your formal decisions yet do not elaborate on why these particular forms have been chosen. Try to expand on where your inspiration is coming from, paying more attention to subject matter and contextual parameters.from Research
The ambition and scale of your work is to be commended, yet I encourage you to work on small and casual experiments developing more maquettes, models and trial compositions.from Pointers for the next assignment
I have tried to put additional explanation in with my write up in projects 7 (Howard, 2020a) and 8 (Howard, 2020), but I think there is more scope for further explanation and consideration. To a degree I have been less focussed and more experimental in this part. It is possible that I would have been better creating even more pieces, but time did not support that idea. As it is, I am already significantly beyond the original deadlines that I had allowed for the part.
Pointers for the next assignment
You have paid good attention to surface and texture. Build on this by experimenting with colour, patina effects and mixed media process, perhaps incorporating paint, spray, collage etc. alongside more unconventional materials.from Pointers for the next assignment
I put significant focus into building up the finishes and patinas that I have applied to my work in this part. All of the works have been in some way finished – partly because I didn’t like the final finish of most of the works cast straight from the plaster. It seems to need some form of finish on it.
Build on your sketchbook work, developing ideas and observational awareness through material investigation and experimentation, working across several pages, exploring a diversity of mediums.from Pointers for the next assignment
To a degree I’ve managed to follow this, but there is significant scope for further improvement. The works of Project 7 (Howard, 2020a), for example, follow through from sketches that came from a fascination with particular forms of eroded rocks at a seaside.
The connection with the Project 8 (Howard, 2020) work, however, is somewhat looser. There is significant experimentation in drawing, and clear links between the drawings and the works. There is, however, significant additional scope for experimental drawing and hence scope for development in the pieces.
List of Illustrations
Fig. 1. Archivio Penone (2020) [Photograph] of Penone, G. (1986) Bifurcation (Set I). At: https://www.tate.org.uk/art/artworks/penone-bifurcation-set-i-t05840 (accessed 07/08/2020)
Fig. 2. Archivio Penone (2020) [Photograph] of Penone, G. (1978) Breath 5. At: https://www.tate.org.uk/art/artworks/penone-breath-5-t03420 (accessed 07/08/2020)
Fig. 3. Archivio Penone (2020) [Photograph] of Penone, G. (1978) Study for ‘Breath of Clay.’ At: https://www.tate.org.uk/art/artworks/penone-study-for-breath-of-clay-t06772 (accessed 07/08/2020)
Howard. D. (2020) Project 8 Casting, internal space/ external form. At: https://david515893s1.wordpress.com/2020/11/22/project-8-casting-internal-space-external-form/ (accessed 23/11/2020)
Howard, D. (2020a) Project 7 Bas-relief. At: https://david515893s1.wordpress.com/2020/11/17/project-7-bas-relief/ (accessed 23/11/2020)
Tate (2020) Giuseppe Penone born 1947. At: https://www.tate.org.uk/art/artists/giuseppe-penone-1754 (accessed 07/08/2020)
Tate (2020a) Breath 5. At: https://www.tate.org.uk/art/artworks/penone-breath-5-t03420 (accessed 09/08/2020)
Thompson, A. (2020) Formative feedback [Attachment to email Assignment 3 feedback sent to Howard, D. 20/07/2020 ]