Tutor feedback/Reflection.

My response is in RED TEXT.

Points I took away from the video tutorial.

• Could I have a text or poem of words as a title for my work?

• What relevance do the artists I am researching now have on contemporary art practice, and why.

• Which art movements use decorative elements in works without unpolitical or heavy elements?

• Reflect on how I can curate my work.

• Has COVID-19 made a difference to how we view nature moving forward?

• What feedback did I get on my Group tutorial? (Realisation that I should be using and documenting the input).

• Some of the processes I already undertake seem necessary, for example, carrying a sketchbook with me at all times and photographing something interesting for no reason.

• Could cropping or redacting my work be an option? For example, my tutor highlighted this corner of one of the assignment paintings, ' I used to be scissors'.

Cropped corner of interesting marks image (tutor's feedback)

Possible new title for the 'Put a cork in it' painting.

'Squashed, squeezed, cracked, spread, poured and dried '.

The canvas is not merely a passive surface waiting to be filled with colour. Instead, it is a space of tension and potential, full of the possibilities of creation. Pigments are brought onto the canvas with care and precision, evoking a sense of intentionality and purpose within my creative act.

The combination of materials creates a composition that is more than the sum of its parts. The organic lines that flow over the picture plane are not mere decorations, but rather an intentional manipulation of space and form, creating a sense of depth and movement that goes beyond the two-dimensional surface of the canvas by the immediacy of their impact.

The colours are not merely thrown onto the canvas but rather squeezed and blended with care, like a gardener tending to their plants. Even as the painting develops cracks and crevices, it becomes a record of the creation process, a testament to the impermanence of all things. Within these imperfections, the mind is challenged, and the rich beauty of the work hopefully shines through.

My Formative Feedback

Overall comments

There is clearly a broad range of interests and a great appetite for learning and experimenting. Your enthusiasm and energy are really positive traits that feed a desire to travel and experience as much of the world as possible. The only challenge to this might be the necessity to manage all of your interests and hone a coherent art practice. This might be a simple case of attenuating the most interesting material and recognising the areas that inspire you most (although this seems to be everything at the minute!)

It could be helpful to start thinking about different strands and finding ways to group or partition responses to distinct elements (e.g. your interests in pattern, adornment, figurative, non-figurative...) The thematic frameworks are useful in this context as a mechanism to focus and contain the range of your interests. You have an obvious facility to work independently, but it’s also important to attempt the more directed and structured learning contained within this unit.

The paintings are generous in detail with energy and curiosity for mark making. There are also alluring details in areas of your work – sections of metallic underlay and the use of other layering techniques or combined media are beginning to activate the image. Your blog is developing well, and the deliberation and inquisitive nature of your approach is really apparent – the positioning of questions is a really positive step in developing your criticality. Continued attention to cataloguing your developing practice should result in a wealth of rich material by the end of the unit (attention to research, analytical reflection, process developments and documentation of experiments/work).

Feedback based on Learning outcomes

Clearly able to present research and ideas within an appropriate framework. A strong sense of independent practice with good developing criticality. Willingness to engage with group and peer networks with the potential to maintain and explore other avenues for interaction and exchange.

Action points

Travel is a consistent element of your practice – how might other aspects, such as time and place, factor into the work? What other ways can you use to ‘record’ and capture these?

The paintings are densely populated, and different qualities sometimes compete or cancel each other out – To help with this, think about the way in which colours interstect and interact. Look at the work of Josef and Anni Albers (you could start with “Interaction of Colour” by Josef Albers). Consider other artists who use patterns and how these artists differ: Alfons Mucha, Sarah Morris, Yayoi Kusama, the ‘Op Art’ movement, The Bauhaus, Arts and Crafts movement, William Morris and more recent work by Daniel Buren. https://www.lissongallery.com/artists/daniel-buren

Text, poetry and titling were discussed in the tutorial, and these aspects could be developed in conjunction with an interest in body adornment. Look at the work of Lalla Essaydi and Idris Khan and contemplate the cultural implications of their approach.

Something to watch - Peter Greenaway’s The Pillow Book

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