Author: Suzanne Conboy-Hill

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Painting media

Suzanne Conboy-Hill

This module is about exploring the use of different media in the making of paintings. One of the pieces that, for me, came off best from what was a difficult series was a small almost abstract painting of the pair of osprey I’d been watching for much of lockdown on the Loch Arkaig webcam. I saw the eggs; I was watching when one of them hatched; I saw all three grow up and leave the nest on their migration to Africa. This tiny painting, and some of the less satisfactory challenges that followed, drove me back into my comfort zone … Continue reading Painting media

Research & Reflection1 Comment

29 tonnes of unfit carrots

Suzanne Conboy-Hill

I like this because I like art that not only tells a story but lets us know what that story is. This one is about waste. An MFA student at Goldsmiths university dumped 29 tonnes of carrots deemed ‘unfit for human consumption’ under a tree on the university’s campus to illustrate the easy profligacy of the food industry. The aerial photograph showing the physical space, thereby pointing up the nutritional sacrifice, is sobering. But as the original text makes clear, the installation was temporary, the food was sent on to animals. A good few students also benefited. The photographer is … Continue reading 29 tonnes of unfit carrots

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Made by Wildlife – full circle

Suzanne Conboy-Hill

I made a painting based on a piece of cartridge left outside for wildlife to make their own marks on. After recording it for this module, I pinned it to the door of the garden shed and took photographs of it once a month to document any changes. It was remarkably robust for the whole summer but then suffered ignominy during an October storm. After a night of wind, rain, and wild goings on outdoors, it ended up back on the ground again. Continue reading Made by Wildlife – full circle

Research & Reflection2 Comments

“Would I say this was good if I didn’t know it was a Pollock?”

Suzanne Conboy-Hill

So what’s this about? To some extent, it’s a follow-on from Brian Eno’s discussions on the matter of art and how to classify and value it. His thesis is that, so long as there is no taxonomic model for positioning different kinds of creative art (the things we do that we don’t need to do – like hair styles), value will always be dictated by a few people at the top who have established a reputation and a kind of provenance by being in the right place with the right people at the right times. This can only lead to … Continue reading “Would I say this was good if I didn’t know it was a Pollock?”