This is a written self-assessment and digitalised notebook.

It notes successes and problems or areas for development that need to be resolved.

Quick thoughts, artists of interest and techniques to remember.

It keeps in mind that the aims of this unit/module are to:

Knowledge.

Demonstrating a deepening awareness of practical and contextual knowledge, and a recognition of subject knowledge and boundaries.

Understanding.

Selecting, testing and interpreting focused research, and applying developing critical thinking and creativity to produce effective and increasingly individual ideas and outcomes.

Application.

Applying developing personal and graduate skills to initiate and sustain studies and growing practice, and increasingly relevant practical, technical, and communication skills to articulate ideas, and outcomes effectively.

Knowledge

LO1 Demonstrate knowledge of a comprehensive range of painting practices and techniques.

LO2 Demonstrate knowledge of contemporary painting discourse and its contexts, including the historic.

LO3 Demonstrate knowledge of appropriate research skills and techniques.

LO4 Demonstrate knowledge of professional and curatorial contexts for your practice.

Understanding

LO5 Evaluate the potential of a range of painting processes and techniques for developing practice.

LO6 Utilise (through written work, oral presentations and making) a critical understanding of contemporary painting discourse and its contexts.

LO7 Analyse, evaluate and synthesise ideas from appropriate primary and secondary research resources.

LO8 Construct an ambitious and convincing studio process through evaluation and reflection.

Application

LO9 Develop an ambitious body of work developed through the application of material research and experimentation.

LO10 Make a concluding presentation demonstrating a sophisticated understanding of their personal context as a practitioner.

LO11 Complete a significant research task related to the wider context of their practice.

LO12 Present an ambitious body of work in an appropriate professional curatorial context.

Course Aims

A1: Engage with a range of contemporary discourses within which the painter is situated.

A2: Develop a position through research and practice in response to key theoretical discourses and ideas.

A3: Produce a body of work that synthesises your key findings into a personal painting practice.

A4: Build skills in presenting research in an undergraduate academic context.

Assessment.

Select 8 to 12 entries from your learning log to complement your submission of creative work and reference your learning outcomes (2 or 3 entries per learning outcome).
HE5 is a place where you are asked to travel in two directions simultaneously.
On the one hand, you are exposing yourself to new ideas, processes and possibilities, and on the other, you are starting to build a personal practice and inhabit it in a deeply significant way.
Your log entries can demonstrate that productive tension constructively but your selection should present a narrative of evaluation and critique which clearly shows you making sense of your own learning journey through engaging with complex ideas (LO2).
Through your learning log we would like to see some evidence of your studio process; for example sketchbook work, preparatory work, or site visits. Use the most effective documentation for you as a practitioner.
Select 6 to 10 pieces of creative work from across your coursework. Remember to choose your best work here. This is not the place to illustrate improvement by including lesser work. Select your strongest paintings from wherever they appear in your coursework. Consider trying to present a coherent portfolio that demonstrates a developing ability to connect your understanding and synthesise it into your work.
You will be submitting your critical review, so follow the Preparing for assessment guidance.

Your reflective presentation or evaluation can draw evidence from your wider log, sketchbook and studio experience to give assessors a clear message about your learning experience. Be specific and back up your assertions. For example, don’t say “I have been strongly creative and taken many risks” – show that by describing your journey and process with confidence.

LEARNING OUTCOMES

LO1: Hold an informed and well-articulated personal position on a range of themes around contemporary art practice as a socio-political entity.

LO2: Work semi-autonomously as a painter to direct your own independent material and textual research through critical and creative thinking.

LO3: Evaluate and synthesise key concerns of your field in terms of their relevance to your practice.

LO4: Present your own research using appropriate methods within an academic framework.

Notes after tutor feedback.

ONE- PICTURES

TWO-THE OBJECT OF PAINTING.

Learning.

Character and narrative don't necessarily produce a strong outcome.
I am not confident in painting portraits and/or animals.
I don't have to paint a proper picture but, I need to be aware of the rules of the picture plane, to be able to break them.
Consider pictures objectively and subjectively.
Making more positive selections on what I like and dislike.

Development.

I am finding more artists that think or work in the way I want to. Artists who have joy and curiosity in their process. I am developing my decision making to be more selective and discerning with my course work and knowing how to progress.

Overall Reflection.

Expanding my toolbox, reviewing past work and seeing how I have progressed is all adding to the practice I am forming.

My Key learning.

Group discussion assists my practice with like minds reflecting on each other's work. You can see or consider your work differently.
The flow of a triptych and applying the same colours or style for rhythm and continuation (maybe to make them simultaneously?)
Learning to manage all of my interests and hone a coherent art practice. Attenuating the most exciting material and recognising the areas that inspire me most.
How might other aspects, such as time and place, factor into my work?
What other ways can I use to ‘record’ and capture these?
Can I be inspired by/use the seasons, poetry and music to inspire my work?
Can I use the Pillow Book's lists for inspiration and narrative in my work?

My notes.

LO1-

Creating a series of portraits about "The Three Faces of Eve" film allowed me to explore and delve into the complex and layered themes of the film, such as identity, mental illness, and gender roles. By engaging with these themes personally and creatively, I have developed a deep understanding of contemporary art as a socio-political entity. My portraits captured the essence of the film and engaged with and respond to the social and political issues of our time, making a meaningful contribution to the contemporary art discourse.

LO3-

By working within a specific format and style with"The Three Faces of Eve", I explored the role of narrative in art, the use of similar colours (as a tool for expression), and the impact of size and scale on the viewer's experience. By engaging with these concerns deliberately and intentionally, I demonstrated my ability to evaluate and synthesize critical/key ideas within my field and then applied them to my own practice.

LO2-

Exercise 4-My practice/ Assignment 2 (Renamed) 'Squashed, squeezed, cracked, spread, poured and dried '

Various techniques have created a unique and expressive painting that showcases an individual style and artistic vision. Working semi-autonomously as a painter allowed me to explore my creativity and hone my skills, directing my own independent material and textual research through critical and creative thinking. By experimenting with different techniques and materials, my ideas burst to life and create a captivating and emotionally impactful piece which push the boundaries of traditional painting techniques.

THREE- COLOUR AND TONAL VALUE

Exploring colour, motif and harmony in a series (Chromatic Orchids) used various processes and material possibilities. This assists in the shifting of elements of a painting and learning about the component parts to hone my powers of discernment.
Isolating and using complimentary colours and tones and exploring them closely in respect of the chosen motif aid my order of placing forms and composition in my work.

Learning.

Using my exercise results can be more beneficial to me than making a special piece of work which encompasses all learning and is overcomplicated.

Development.

Exploring different techniques and materials not traditionally associated with painting, such as mixed media, relief, and sculpture, will help me develop my unique approach to painting. I want to experiment with textured surfaces and illusionary effects.
Challenging the viewer's perception of reality and the picture plane interests me. I want to develop this further.
To incorporate the use of moving images in my work, I can experiment with different video editing software and techniques to create works that combine still images with video footage. I can also study the works of artists who use video in their practice to gain inspiration and insights.

Overall Reflection.

Engaging with peer networks and wider audiences, I will continue participating in group exhibitions, attending art-related events, and sharing my work on social media platforms. I do have a WhatsApp group where like-minded artists discuss techniques.

My Key learning.

Acknowledgement of the strengths of the material tests generated from the various exercises.
Considering the potential for more expanded or divergent forms of painting practice given much of my work and interests reside in combining media.
The use of ‘relief’ and the aspect of ‘metamorphosis’ or change.Develop your interests in relief and perspective/the underneath/the hidden - consider the use of painting mediums (such as encaustic, flock, plaster...). Further consider the use of moving image – are there ways to incorporate your interest in ‘overlays’?

My notes.

LO-2/LO-3

Work semi-autonomously as a painter to direct your independent material and textual research through critical and creative thinking.

Exercise 3: Objective and Subjective Colour- using my independent creative thinking to achieve an expanded and divergent form of painting practice, with an interest in the metamorphosis of media.

Evaluate and synthesise critical concerns of your field regarding their relevance to your practice.

Digital technologies influence the art world, and my work responds to or engages with these concerns.

By evaluating this critical concern, I refine and develop my artistic practice and make videos to inform the viewer of the combinations within my work.

FOUR-REDACTION

The redaction process has opened up intriguing possibilities for honing various aspects of my work.
A turning point regarding my experimentation and having a positive outcome (something to be proud of).
There is a marked progression in my approach to structure, balance and composition, as well as a positive development in cropping and framing techniques. The digital ‘Tondo Crops’ work very well and helps initiate a continuity of viewpoints. The use of circle or ellipsis structures provides softer edges that also help with legibility, giving more space for some of the more complex or nuanced elements to survive (or exist as redactions and new works).
The circle, the ongoing movement and chasing one's tail, are part of my life and have been for so long, circling the globe back and forth, around and around.

Learning.

One idea to improve the effectiveness of the writing is to focus on breaking down the content into smaller, more manageable chunks. This can help to make the writing less daunting and overwhelming while also allowing for greater focus and clarity.
Another idea is to use a sketchbook to generate ideas and then return to them later, allowing for greater reflection and refinement of the work.
Lastly, the redaction of the circle and layering techniques used in the writing may be further developed and refined to create even more compelling and effective work.

Development.

Developing and honing my personal position in relation to a range of themes around historical and contemporary art practices by using the research I have seen first-hand or the work that interests and inspires me. I consistently pursue opportunities to connect with other creative networks and wider audiences by meeting students and visiting exhibitions. This needs to be developed and honed towards my practice now.

Overall Reflection.

I am still searching in the darkness, but I can see a light at the end of the tunnel, somewhere far in the distance.
My critical review needs a clear purpose or message.
Make a plan and think logically about what I want to write about and why.

My tutor's comments have my attention and make me reflect for quite some time.

"Could your practice interests be described as a form of redacting pattern? Consider a focused selection of artists who use pattern in this way/as part of their work".

"There is something of order/chaos versus pattern/gesture in the way you work. Two artists who might be relevant to consider: Cy Twombly & Julie Merehtu. (Twombly’s mixed media works are energetic and chaotic whilst still being carefully composed – think about how he uses space to counteract the more cluttered or crowded areas of the painting. The work of Julie Merehtu manages the chaos and disorder in a structured pattern)".

My Key learning.

LO-2/LO-3

LO2: Work semi-autonomously as a painter to direct your independent material and textual research through critical and creative thinking.

LO3: Evaluate and synthesise critical concerns of your field regarding their relevance to your practice.

Exercise 3: Drawing as Painting

Redaction and erasure create opportunities to experiment and have been a turning point in this exercise, enabling a honing in of my work. The opaque placing and highlighting of areas and my newfound understanding of layering place me in a stronger position to form compositions that speak to me as an artist.

I can see how redaction affects the structure of the piece. I can see certain parts of the image becoming more prominent or meaningful due to highlights by the redaction.

I have newfound tools to create a powerful and thought-provoking piece of art that engages viewers on multiple levels.

My notes.

The Cropped digital tondos and The redaction in a rectangle piece are strong contenders for my assessment.

Is the circle, tondo or round going to be a signature shape that I carry forward?

I can see that I am beginning to bring my work together. With help from my tutor, I can start to make sense of why and how I want my work to be presented.

FIVE- The Contemporary Landscape

Learning.

I am starting to explore lateral viewpoints and other ways of creating depth, birdseye/aerial vantage points.

Are these because of my career?

This is starting to connect the paintings more with the landscape and encourages thinking around paint layering and application as a form of terrain. Terrain and the use of patterns to create terrain is a connection and learning curve.

Development.

My approach to structure, balance and composition and cropping and framing techniques have been noted.

Overall Reflection.

In terms of personal growth and development, and beginning to identify and outline what is working for me as I further investigate and develop. Experimentation and exploration, and learning from these investigations are even more fundamental now as I start to become more selective.

Is my painting revealing something I don’t yet fully understand?

I can’t or don't fully comprehend why I cannot see elements in my painting, and other people can and do. I am fortunate to have that peer connection and input. Collaborations are something that I didn't feel would be as useful as they are.

My Key learning.

Beginning to connect research with practical experiments. Collaborative endeavours have been successful.

LO3:

Evaluate and synthesise key concerns of your field in terms of their relevance to your practice.

Is my critical essay with regard to zones, edges, and territories more about landscapes than patterns?

Am I synthesising key elements of my practice within the critical review?

My review is not focused on discussing or exploring the idea or possible methods of removing or concealing information (redaction) in the artwork created by the artists. Instead, the review seems to be more interested in defining a figure or an image through the use of various patterns.

SIX-Abstract Painting Today

Learning.

My critical review although still a challenge begins to become more relavent to my practice.

Collaborations with textile students has been a positive experience. Multi diapline and hybrid works sut my practice.

Development.

The development of tondos and the use of form, sculpture and lateral and aerial views continue to be fundamental to my way of working and thinking. Expressing myself freely and conveying emotions and ideas without being tied to literal representation is enjoyable.

Doing work based on personal experiences, creating a more personal connection and experimenting with new forms, colours, and textures pushes my creativity and assists me in finding my unique style.

Abstraction gives me the freedom to express myself, encouraging viewers to interpret the art in their way, allowing for experimentation, and helping create visually engaging works that can resonate with people on a deeper level.

Overall Reflection.

Encaustic painting is a process I will take forward for it's translucent qualities and versatility with textures.

My Key learning.

I'm learning how to word my essay and the meaning of what I am writing in context with patterns. I am beginning to understand why I am drawn to certain shapes or forms.

Collaboration-

Collaborating with other art students for an art degree has several benefits:

Working with others brings diverse ideas and approaches to the creative process, expanding my artistic possibilities. Students can learn from each other by exchanging techniques, insights, and tips, helping everyone grow within their practice. Collaborative projects encourage thinking outside the box and exploring new artistic methods and styles. Students provide constructive feedback to each other, fostering improvement and artistic development. Collaborations establish connections within the art community, opening doors for future opportunities. Collaborative projects add variety.

LO1:

Critical review

Hold an informed and well-articulated personal position on a range of themes around contemporary art practice as a socio-political entity.

LO2:

Work semi-autonomously as a painter to direct your own independent material and textual research through critical and creative thinking.

This learning outcome emphasises the ability to conduct independent research, which can involve exploring different materials and techniques within the context of one's artistic practice. In the collaboration between a painter and a textile student, as individuals, we both had the opportunity to contribute respective expertise and conduct research relevant to their chosen mediums. Engaging in critical and creative thinking to explore and develop ideas, working semi-autonomously to direct their individual research within the collaborative project.

Peer Collaboration- Textiles with Penny Day

SEVEN- Intersections

Learning/

Development.

Tutor comments "Clear demonstration of independent development and an autonomous approach to research and practice. Proactive in seeking out new creative opportunities and external ventures with continued peer engagement. All work and log entries are extensive and well-presented within an academic format".

My own practice- Flare & Digital Invertion - Encaustic/mixed media on canvas using Surrealist techniques, adapting them with the additions of gold leaf and encaustic textures.

LO2:

Work semi-autonomously as a painter to direct your own independent material and textual research through critical and creative thinking.

Replication of encaustic techniques and experiments of Ilana Savdie's contemporary practice. I am beginning to balance the technical aspects of painting, such as researching brushwork, pallette and texture, with conceptual ideas in my artwork.

LO4:

Present your own research using appropriate methods within an academic framework.

Overall Reflection.

The new photographic prints work very well and create a viable possibility for editioning and exhibiting my work.

My Key learning.

Critical review - significant improvements in my writing skills with uptake in criticality, clarity of ideas and the quality of language.

With colleague's assistance and research into the language of writing gave me confidence.

Clear demonstration of independent development and an autonomous approach to research and practice. Proactive in seeking out new creative opportunities and external ventures with continued peer engagement. All work and log entries are extensive and well-presented within an academic format.

EIGHT-Painting and The Digital

Learning.

I am learning a variety of mixed media techniques and I like the fusion of video digital media and paint.

Development.

My fascination with the interplay between fixed and fluid states is more evident. My efforts to capture a sense of adaptability and transformation, particularly showcased in Infinite Void (embodying drag, thrust, lift, roll, pitch, and yaw; shake, bump, fall, and shudder). The artwork also carries a pronounced physical and visceral quality, akin to organic forms. Incorporating drawing and geometry adds an intriguing visual aspect and opens up exciting possibilities for mixed-media works (a strong pull for me).

In Plain Sight (the virtual exhibition) is a valuable testing ground. The virtual setup, with its muted grey backdrop, effectively isolates and accentuates the burst of colours present in my artistic practice. This simulated environment prompts me to consider potential arrangements, placements, and scales in relation to a specific space.

Overall Reflection.

I am eager to delve deeper into the potential for curating and displaying my artwork. Exploring alternative rooms, site-specific locations, and unusual venues or spaces is an exciting prospect. This will offer me the chance to experiment with how the presentation of my work interacts with the surrounding environment, enhancing the viewer's experience and perception.

I fully understand the importance of refining the sequencing of my existing tondos. Creating grid formations and other thoughtful groupings will help present a cohesive and impactful narrative through my work. This sequencing will allow for a more structured and meaningful engagement with the audience, aiding in conveying my artistic intentions effectively.

The suggestion to explore the various contexts in which colours can be used to unify, compliment, and interrupt is well-received.

I will experiment with creating different grounds for paintings during exhibitions, as well as consider the possibility of coloured frames for the tondos themselves. Studying museum colour zones and other spatial conditions that inform artwork will undoubtedly enhance the overall visual impact and resonance of my pieces.

My Key learning.

I am committed to incorporating these action points into my artistic practice, aiming to further elevate my work and align it with the learning outcomes of my art degree.

NINE- Painting, Performance and the Body