I have spent a significant amount of time reflecting on the feedback I received from my Tutor on Part 4 (Thompson, 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. (Thompson, 2021:5)
Continue reading “Part 4 Reflection on Feedback”
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. (Thompson, 2021:5)
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).Continue reading “Into each life”
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
Artists and Cultural Context
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.Continue reading “Raven”
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.
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:Continue reading “Considering part 5”
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.Continue reading “Part 3: Reflection on Feedback”
Making the components
As the instructions suggested, I started by making a set of initial components. Some of these were quite smooth, others heavily textured. Injecting plaster into a balloon was interesting, and made some good bulbous pieces – almost like fruit. These can be shaped somewhat as they start to harden.Continue reading “Project 8 Casting, internal space/ external form”
Making a start
The first step was to build a frame and fill it with clay to a reasonable depth. I also tried to ensure that the clay surface started out fairly level:Continue reading “Project 7 Bas-relief”