Tutor formative feedback Part 2 & my reflection.

My tutors feedback is in black text my reflection is in orange.

Overall feedback

This has been a very thorough submission. You have worked hard at researching artists as well as moving a creative idea forward through developmental studies. Think more about correlating what you are seeing in the artist’s work, this may be a process, a technique, a way with composition or driven by context. Applying this knowledge should influence some of the work you are making. It is important to integrate your research into your own work as often as possible.

Overall I am delighted with my feedback. I am not completely on the wrong track, a few rookie mistakes but overall I seem to be developing. I seem to be losing my way with the energy and passion I have always displayed in my sketchbooks. This can be visually noticed in my sketchbook entries. I want to explore the marvels of paint and am enthusiastic to delve into mono-printing and all it has to offer. Editing my palette and composition is key and researching more contemporary work from the various booksand resources I have in my possession.

Feedback based on Learning Outcomes

Demonstrate through practical exercises experimentation with a range of painting media, techniques and surfaces.

You have documented the vast number of collections you have found around the home. Well done, you have considered how to document them for what they are very well. Your experimental painting using a wide range of materials is open minded as well as explorative. Be mindful that making connections with your objects and materials could help, so white objects painted on a white ground, or editing the composition for clarity could help you critique the work as you move forward. Rather than do lots of the same things in a similar way always try to push yourself to approach things differently as often as you can. Your sketchbook studies are wide ranging in terms of media exploration. Don’t be afraid to slow down and really look at what it is you are doing. Where you develop an idea such as the sketches made looking at Andy Warhol for example it is clear that you made further compositional enquiries as you moved forward. There is a quality to your sketchbooks that is getting a little lost, so be aware of what you can do to bridge the gap between these explorations and other work.

I will push myself to take certain areas of paintings and look more closely at them. Why do they work what do I like, how can I expand, or do things differently?

I agree with the comments about my sketchbook. I have concentrated more on my research and seem to have lost the 'play and experimental passion' I have usually held within the sketchbook pages. The connection I find with others artists and using their work to underpin my concepts is key and I need to be proactive with this feedback.

Demonstrate the ability to use a broad range of techniques and to offer highly experimental and personal responses in your work

The work titled ‘Hanging Around’ again emphasises a good sense of how to develop your initial ideas. Be wary of the weight of line as you experiment with it. You might want to bring multiple tools to one drawing, or you might want to play around with the light and heavy touch of a piece of charcoal to see where materials really add something else to a study. You have investigated a tonal range in this study, so take this forward in other experiments to build on the foundations of your learning. The shoes study or “Globe Trotters’ again shows exploration and refinement at the end which may be a good thing to show at assessment. You are careful when rendering form and the cast shadows and palette work well together, well done. I am enjoying the sense that your objects are relating things to each other, this shows imagination as well as an openness to the brief, well done. The paintings on a painted surface again are taken forward in new ways tonally, some work well and others less so. Here I think you could be a little more mindful of not having to paint or include everything. Try to edit the composition, as well as edit the palette to see where this goes.

I was concerned about using mixed media and having discussed this with my tutor I am better placed to experiment with the marriage of paint and other media and tools to express myself.

I have learnt a lot about discerning my work and trusting my instincts to achieve a strong composition and outcome. Through experiments like Hanging Around I was able to achieve and work through to 'Globe Trotters' and ultimately 'Rendez-Shoe'.

By editing both palette and composition, using my imagination to connect narratives, I feel I am becoming more confident and moving forward.

Research visual ideas from a wide range of sources and develop these ideas through critical review and art practice into a concentrated personal project

You are starting to sift through works to see what works and what doesn’t. You have chosen and reflected well around these decisions. Spend some time looking at contemporary painting. This will help you process what you are doing in a clear way and see where you might be heading in your painting practice. Discernment is key here as I think you are still trying to make a ‘proper picture’. You need to take more risks in the work to move things on, otherwise you are in danger of not pushing new ideas forward, even though it is clear that you are improving your techniques with painting. The assignment work for this section has a personal voice coming through and the preparatory work is well considered. As you move forward the more open studies work well, we will talk about this more when we are next together.

I need to take this advice onboard experiment with gesture, tools, painting and be more selective with what I include or chose to omit from my work.

Research and understand the role of history and context in relation to a personal project.

You have provided some very thorough and excellent analysis of the artists that are on the research list, well done. Supported by relevant images, you have managed to understand what is going on in their work and take forward some aspects that may be pertinent to your own work as you move forward. Think more carefully about the readings of Benjamin and Freud. What is going on here in terms of what is being asked? So, the significance of national history, collective and communal memory and the nature of truth, particularly when considering the ideas of ‘collection (s)’. This kind of thinking can help you decide where you would like to go next in terms of painting. So thinking more around what it is you are trying to say or looking closer at the material processes you are using will help you improve and develop your own skills in painting.

Copying artists work and really understanding how marks have been made for example which tools have been used or how the paint has been applied can only enhance my skills and knowledge base at this stage. Looking at contemporary artists' work will inspire me to push myself and strengthen my personal voice.

Action points

• Apply some of what you have found through artist research into your own work/decision making.

• Take another look at how to Harvard Reference using OCA’s guidelines to help.

• Slow down and play with paint much more. Don’t try to be preoccupied with making a ‘proper painting’.

Here is some of the information you requested: https://www.jamesfreemangallery.com/artist/yuko-nasu/ https://www.instagram.com/yuko_nasu/?hl=en https://www.imaginaryportrait.com/

Dexter Dalwood: https://www.simonleegallery.com/artists/dexter-dalwood/

Harry Pye: http://www.harrypye.com/