Tutor formative feedback Part Four.

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

Overall feedback

You have reviewed the work made in Part 4 well and I agree in the main that your selection is the strongest. Be aware that you are making some sensitive, open experimental pieces in your sketchbook so point more directly to these in your learning log from time to time. The sketchbook studies have an underworked quality to them that I think you could bring more into your final body of work. Well done, a very thorough investigation into process, materials and the development of an idea.

I really need to take the sketchbook comments onboard, as this has been commented on before by tutors in previous modules.

I still seem to tighten up towards the assignment pieces and this needs to change, if I want to develop my practice.

Feedback based on Learning Outcomes.

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

The works you are making in your sketchbook are rather lovely and at times have a more open expression to them, so could this be looser way of working be explored further in other ways?

Most of the 'open expression' is because I feel relaxed when I make the sketchbook entries. I know that I can 'play' with the media in the sketchbook. Now, I need to play more with the paint on the canvas ( or whatever support) as if I was drawing in the sketchbook, 'drawing with paint' and with expression.

Can I simply just work from the sketchbook studies, referring to them alone for my pieces?

The aerial view studies and the more explorative coloured pencil drawings aka

with angles and unusual blends of colourways are exciting. Again, writing a little more about how you feel about these would be good practice as you get to know more of what you are enjoying and pursuing as you move forward.

I have addressed this feedback and added my feelings about the studies in this link o the blog post in orange text. (scroll down the linked page for the ORANGE text).

The subsequent studies for me read very well and the interpretation of the object with complimentary colourways is exciting. Again, there is huge potential in the Adventitious series where you blend, cross hatch and burnish. Lovely studies and I would agree that they stand up on their own without the black border.

I really enjoyed making these pieces, the perspective view and, the outcome of all three together needs to have the potential pushed and explored.

As you move towards considering the border more you approach the border in a different way in exercise 4.3. You are enquiring and open to the possibilities of varnish and learn a lot of things regarding material as you move forward. Lots learnt well done. Your decision to work in a more oblong form goes through a series of transitions until you feel happy with it. The composition, perspective and colour palette are coherent, and you handle the paint in a very sensitive manner. There is an air of resolve here and often people get torn between the practice of painting and the need to work in context. I think you have done a good job in relation to it being a study of the domestic. Contextually for me though it could be pushed much more. The work inspired by Lisa Noonis and Roxy Walsh considers the picture plain much more and you work hard at being cohesive in relation to palette. As you push the work further, Orchids 1 feels resolved, well done, you are pushing the work a great deal.

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

For the first tondo exercise you approach a range of different processes and techniques to apply paint looking at a few still life studies in your house. It would be good to spend a few minutes writing up a paragraph or two or what you learnt, discovered along the way, how the underpainting added something to the work and how you could have improved or focussed on developing scale, perspective, composition and so on. Using a physical viewfinder as well as one on your phone can alter the material aspect of things too. Placing one over something like a magazine cover or something textural can often bring other things into the mix.

I have addressed this tutor feedback in a 'What did I learn?' section at the bottom of this linked page ORANGE text.

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

Reading the Poetics of Space has allowed you the time to consider the more contextual considerations of space, home and so on. Looking closely at spaces that are very often overlooked has allowed you to consider other possibilities here, so remember to go back to this book from time to time as it slows the thinking in relation to the practice as well as it is giving it more purpose. You have been very articulate in your use of photographing specific works by Mary Newcombe. Considering the use of quick studies and considerations of palette do align with your own concerns, well done.

Both of these resources have greatly developed my thinking about space and palette.

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

The final assignment for me suggests that the difficulties you have had are because you are trying simply to put too much into the image. You use Damien Hirst spin paintings as a reference which is dislocated from the work in a way and perhaps complicate this further by trying to introduce the beauty and elegance of an orchid to the work. Were you thinking of his recent cherry blossom paintings I wonder? Think more closely about why you have put these two elements together? You refer to Nash whose orchids are complex, almost painful to look at and you then try to mash this together with an aerial view? Too much – instead perhaps edit or strip things down. The view to the orchids is simpler and much more exciting to view so think perhaps of using an assignment more as time to extend or develop an idea rather than make it an amalgam of all sorts of disparate things (unless this is a deliberate intention!). Think carefully about Part 5 and trust yourself in the work as this is more about you rather than anything else.

My subconscious mind has overtaken my practice I fear. I need to document my thinking in both my sketchbook and blog. Rather than try and bring artists into my work I need to focus on my work and then see if any other artists are practicing in a similar way perhaps?

Less is more and I really need to edit and simplify and stop throwing everything at my work. My enthusiasm sometimes is my downfall!

Action points

• Try to reduce when things get muddied rather than add, add, add, which can be an easy trap to fall into.

More consideration, reflection and time between layers I believe will assist my development.

• Go back to the more contemplative elements of the Poetics of Space. Can this help with your thinking?

I need to realise that my imagination can develop my work. The book opened my eyes to my imagination. I think my tutor means to connect more to how my possessions take me to the places I that have visited.

• Get the paint to work in new ways for you. Go back and decide where the main thread of the work is in relation to process, context and even object in relation to travel/perspective/humidity/lack of air – how can you get your palette and painterly approach to work conceptually/contextually if that is important to you?

I need to connect my painterly approach, practice and materials to the context and use whatever materials or whatever form is most appropriate to putting my idea across. How exciting! I can't wait to experiment!