Re-frame Project Day 2

21st September 2023

Today was a bit of a trial with regards to how much we needed to get done and how the ideas were or were not being liked/received well by each member of the team. My fellow second year student in my team, wasn’t in Uni. The two first year students, one had almost switched off because she didn’t think her ideas were any good. The other had ideas but honestly didn’t fit with the original brief we have been given and will be difficult to achieve in the four days, or should I say three days we have left. My idea to use the sculpture outside the second year art studio, is a non starter because according to the two first year students “It’s been done to death”.

However, looking at the photographs of elements of the structure started us talking and discussing ideas. The one above made us all think of tracks, lines, paths etc. Somehow we all agreed train tracks coming out the sea would look good! Although we have a railway line going under the top road near the college buildings, it would be difficult to actually go and take photos of the railway tracks for the angle we wanted. That’s when I remembered, having a family of steam train enthusiasts, that I had an image of the Flying Scotsman passing through Weston Super Mare from a few years earlier.

Finally, we have something we all agree on and are happy working with and it still has a local connection even though it isn’t entirely true to the brief. If it was an external customer, this will be a hard concept to ask them to accept, especially if they are set on the criteria parameters for the project.

All systems go to catch up on some lost time, we converted the image to black and white, printed out copies, decided on which elements of the image we didn’t want to keep and then used blank pages in a sketchbook to check out the composition. We all agreed it looked flat so a simple fold along where the train meets the track, just made it look more three dimensional and the train popped out at us.

Next step enlarge, print out and stick on the card. The idea is to go BIG!! However, due to the quality of the image, which we have no control over, we can only enlarge it so much before it looks very pixelated.

We have left it to dry overnight, with just a few finishing cuts to do in the morning. Although it has been a bit of testing day, we have managed to come together as a team.

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Julie Sleaford – The Problem Horse

30th November 2023

This has to be one of most treasured items of research.  It is in my view a beautiful hand crafted photo book and it has such a wonderful personal feel.

I’ve attached the link to her website as, honestly, it’s only fair you read about Julie on there, in her own words.   That’s where I was drawn into the magic she weaves with her images. 

https://www.juliesleaford.com

I think as someone whose only just started out with film cameras and learning how to develop my own images, I find her work very inspiring.   Julie is doing what I aim to do, tell a story that touches your soul on some level.

I like the technique she has developed over the years and the lack of the  sharp clarity we have come to expect in this digital age, in her images.  You can tell that she is involved in the whole process from taking the image, developing them, through to the look and feel of the hand bound book.

Part of a limited edition
So beautifully presented

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London Trip

25th September 2023

Unusually for a Monday a coach trip to London to visit the Tate Modern. I haven’t been to the Tate for a few years so it was definitely nice to see the current artworks displayed there.

I am intrigued by the link between photography and art and how there is a crossover between the two. Since the dawn of cameras and photography artists have been known to photograph subjects and landscapes for reference ideas and photographers sketch out ideas for photograph ideas.

Whilst at the Tate I decided to have a guided tour and learn a little more about the paintings and artists than the little blurb description tells you.

Francis Bacon – Figure In a Landscape 1945
Rita Donagh – Counterpane 1987-8

Both the above paintings were part of the guided tour and I was drawn to the fact that they were both based on photographs. Created 40yrs apart they are both intrinsically layered with politics, dissent, love and loss, and humanity. This is something I aspire to do, be able to portray a moment yet give the observer an insight into the whole story behind it.

I think Rita Donaghs image means more to me because its based on an incident that happened when I was 13yrs old. I remember the news footage of the guardsmen and their horses dead and injured, their bodies covered with coats and blankets. Some things stay with you. I’m also from a generation where we had the best linen and family linen, so to use what biscuits obviously an embroidered counterpane as a shroud over a strangers body, really speaks to me. It’s a reminder of love, family, history, grief, empathy.

I aspire to evoke and convey that much emotion with my art and now I realise that, I really don’t know where to start and imposter syndrome is creeping in with its usual paralysis.

Where do I take my research now?

Do I look at how I feel when I take photographs or when I lose myself in creating artworks?

How do I combine the two?

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Re-Frame Project

20th September 2023

This is an introduction collaborative project with the Year 1 students. We will be working in groups of four, the tasks are to document items in the landscape that surrounds us by either photographs or sketching. Then photocopy, dissassemble, reassemble and create a 3d cardboard structure in a large format and then rephotograph the sculpture in the landscape.

Split into teams of 4. The only downside was the rain – its not much fun trying to manhandle the phone camera with slippery screens and fingers. It was quite late into the afternoon session by the time the tutorial had finished and we had our groups. I sketched the tuba quickly and have some photos.

We brainstormed some ideas on our group chat and I think we all have things to reflect on and do, before we meet around the table tomorrow morning.

Again, I have loads of Photographers and Artists to research as part of this project.

Starting with tonight’s research on whose style of reframe am I inspired by?

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My Artist Statement

19th September 2023

The first module is about research that defines us as an artist, helping towards our developing practice.

“My journey as a creative involves spending a lot of time outdoors with my horses and dogs at the top and tail ends of the day.  I witness firsthand the beauty and magnificence that surrounds us in natures backdrop.   I fell in love with photography through my need for good quality reference images for my painting and ceramics artworks.  I want to engage the observer, using materials and medium that reduce the environmental impact.”

It’s very difficult defining myself. I am considering this very much a work in progress and it will change as I evolve throughout the year. I will be continuing my endeavours to make my own paints, using materials I have lying around at home to create my own canvases. Hopefully reducing my carbon footprint by reducing the mass produced plastic packaged materials and medium purchases. However, I am well aware I have a stack of already purchased materials to use up. For now, it will be mix and match to reduce wastage.

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And we’re back….

A new study year and a different room with a new desk and a view. Wasn’t one of the first in to choose my desk but I’m happy with my spot. Have a board to pin up my work and any research articles this year – gives me a reason to produce more as I work better when I have a little inspiration around me.

The first group exercise what is art? Words that define are to our group.

And then what is genius?

This is my second attempt at writing the remainder of the post as unfortunately my update didn’t save and I lost half the post that I had typed….. starting the year as usual with my technology gremlins.

This module is really aimed at self led research with the intention of developing and defining my own art practice. Can I be specific in my art practice without being restrictive? What do I do? Why do I do it?

During the tutorial we looked at various questions what is Genius? is it a gift or a curse? Is it genetically inherited or can genius be created. 10000 hours theory of learning of any random thing can become a master. Also looking at Nature v Nurture -what if Homer Simpson had been brought up by Albert Einstein and Madam Curie?

The Polgar Family used their own three daughters to create chess masters, however was it flawed with experimental bias? Consider their own genetic make up as both were chess players – would the theory have worked as well with 3 children from different social economic backgrounds? What if you don’t have a natural aptitude for the subject you are learning? And if you didn’t believe that you could do what was being asked? Would that self doubt prevent you from becoming a master. Do you have to be technically astute and good at something to be successful in particular field?

We create from our personal experiences and in our lives we have many passive and profound experiences that shape up us and create emotional responses. Who influences the artists and photographers Hiroshi Sugimoto seascapes 1980 v Mark Rothko Abstract Paintings 1952 . Part of this module is for me to now go away and think about the list of artists and photographers and what their influences and messages are? Can I link them together? Do any share a similar path to me? Who do I find inspiring? I have found some similarities with the work I have done in previous years on synesthesia and music in art and Kandin seems to crop up as an influencer for many of the later artists I have researched.

For me it is really important to stay authentic and true to my own beliefs, that I don’t forget being in the here and now whilst striving towards creating my brand as an artist, and chase that illusive notoriety.

It’s going to be interesting to note how my definition of myself as an artist changes as I do more research, or may it doesn’t? Maybe the knowledge I gain from the research just cements the pathway I’m already on and who I believe myself to be

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Portfolio Review

My work is up and on the wall in time for the end of year show.

I feel like everything this past year I have made it by the skin of my teeth. I have had a lot going on at home and it has really distracted me from some of the elements I’ve needed to concentrate on. I was probably crazy following my out of the blue source and make my own paints and repurpose items to create with.

Yet it has been a rewarding process to follow, with lots of problem solving alo g the way. Do I feel its my best work? No, but I am my own worst critic with most things I do including learning the piano and horse riding. Have I learnt from the experience? Absolutely.

Artists that inspired me, honestly I can’t really say that I’ve researched any in depth specifically for portfolio. Susannah Crook a local artist that sources her own pigments and was kind enough to give me a quick workshop on creating paints from pigments. She certainly encouraged me to explore this route and I will definitely like to continue.

My inspiration was the landscapes of Scotland and with that in mind I did look up a few Scottish Landscape artists and they are quite diverse in their styles. Rosanne Barr (not the actress), Nael Hanna, Peter King and Jean Feeney are ones who I looked a little further at their style and use of colour.

In the end though, I found myself using colours in my own photos and experiences of the Scottish Highlands.

Creating my own oil paints was not without its frustrations and the pigments are all different. I love the fact that one have more texture and feel gritty, but that isn’t suited for every painting. Some I still need to do a lot more experimenting with as I go through my creative career. There is always going to be something to learn.

Sourcing wood to repurpose as a canvas. I had 3 different types and the preparation for each needed to be different. Through this I now know to do that little bit extra at the beginning. It may, it may not, remove some issues further in the painting process.

Am I still committed to creating a sustainable practice going forward? Absolutely! I am looking forward to looking for pigment sources over the summer, gathering bits of wood and scraps of materials to use as canvases. I’m also going to practice refining my papermaking skills and sourcing any ither equipment from sustainable, free trade and ethically minded organisations.

The next step is working out how I can move this into other areas of my creative practice.

In the meantime, my work looks good in position. There are 3 R’s in Art – Reduce, Reuse and Recycle.

There are 3 R’s in Art

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Portfolio – artwork 3

This piece I have struggled with from the get go. Part of it was my choice of wood. Treated manufactured oak flooring offcut. I knew I had to sand it, which I did, to remove the top layer. However I still had issues with the oil paint wanting to soak in rather than sit on the surface. I think k I needed to have sanded it more thoroughly with a power tool sander, rather than a sanding block.

I also found the more earthy muted colours just blended I to the natural tones of the wood. I had to go brighter, darker colours with a thicker paste application. I mai ly used a pallet knife and as I layered the different colours, wiped and scraped the top layers back.

This painting was definitely one where I needed the layers to dry before applying and worming on the next colour.

I have struggled to feel what the paint is trying show me. It isn’t my favourite of the three paintings and if I could have not included it in the show I would gladly have left it at home.

Yet others like it. They like the textures and strong colours. It is included in the show. It may grow on me. Maybe I need to work out why I don’t like it? Is it a reflection of the inner turmoil I feel at the moment, not really knowing where I want my painting style to take me. Not being able to define the style, has me frustrated and maybe thats what I see here.

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Portfolio – artwork 2

I loved this one, it just flowed and the landscape I’d envisioned of a Loch coastline just started to emerge.

I mainly buses a sponge and cloth to apply and winter oil paint. I used a pallet knife to add some of the finishing touches.

I think that the background paint was not white, it helped with the earthy tones I wanted to achieve.

Definitely in my happy place creating this one. I really like the muted tones.

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Portfolio – artwork 1

I started by pouring/dribbling used engine oil on the board, then sponging it, following the directions of the drips.

Next step was making the paint from woad pigment. It was a bit gritty and didn’t apply well using a pallette knife, however when I used a sponge to wipe/apply it to the board. It it left a really nice shade of blue.

I was working on all three paintings at the same time so I didn’t have much in the way of left over paint needing to be stored in tubes.

This painting was very easy to layer and apply the different colours. I left negative space and used the white background to add to the highlights.

I didn’t base it on David Hockney, but it does remind me a little of some of his tree landscapes.

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