The category containing all posts for part 1.
Douglas Crimp (1944-2019) and appropriating appropriation. My distillation of this 1993 paper is that it comprises a discussion or essay on the emerging use of photography in the appropriation of work done by someone else, in some cases by simply … Continue reading Project 1: visual texture; research points 1&2
My strategy for this exercise is to use my own work for the imported materials (there is a lot of this as I’ve just cleared out two portfolios full of work from previous modules and available now as ‘resources’) and … Continue reading Implied texture: ex 1, option 1.
I have fused the first two projects in this serendipitous piece which uses clothing material (nylon, possibly), paint peeled off a well-used palette, and strips taken from the OHP film I use to keep paint fluid while I need it. … Continue reading Part 4
The task is to “develop a series of pieces based around the ideas, approaches, and reflections explored in Part One.” This is quite a broad brief which means it has the potential to be free of specifics but also somewhat … Continue reading Part 1, Assignment 1
Two questions asked of me recently, both by tutors, make this a very pertinent discussion. Before starting this module, my previous tutor wondered aloud why I wasn’t on the Fine Art (FA) pathway as my body of work seemed more of a fit for that; and currently, during our wide ranging introductory video meeting, the question, did I see myself as a painter, came up. An inquiry, not a confrontation; the careful beginning of an exploration of my expectations of this module and how I might manage it/them. The first was easy. I’d bailed out of core FA module Understanding … Continue reading Project 5, considering painting, ex 1.4 contextual focus
Things perform for you. This builds on the pendulum/piping bag/bat and ball methodology of the previous exercise. The ones I supplanted by squeezed tea bags, grains of soft pastel, and a plant spray. Again, I’m going to move this along … Continue reading Part 1, Project 4, exercise 1:3 Things perform for you
I think this refers to what was originally about subjective physical mapping, mental representations of a geographical area. [cf this definition from the APA dictionary of psychology mental map – APA Dictionary of Psychology]. Psychologically, this might include mapping one’s perceived space in a given environment to understand something about how visible a person felt, or how much they felt they owned it. Latterly, it’s been much more about abstract conceptual material, ways of plotting ideas in non-hierarchical space. Tony Buzan, graduate psychologist and one of Mensa’s golden boys, was the originator and key proponent of this version. I met … Continue reading Part 1, Project 3, exercise 1:2 – Mental mapping
There is quite a lot of overlap in this exercise between the research and the reading points, all pertinent to the task, and so I’ve addressed both here. The question placed in my mind by the contextual materials and the … Continue reading Part 1, Project 2, exercise 1:1 painting without a brush
Part 1 of this module is titled Painting and/as performance which, from the introduction quoting Harold Rosenberg’s (1952) description of abstract expressionism as ‘not a picture but an event’, seems to be positioning physicality as a critical component of any art work such that it merits its own listing in the credits. Clearly, and especially pre-digital, the physical actions of the maker of the work will heavily influence the eventual product. At a very simplistic level, I am left handed and could not replicate the gestural work of righthanders, so that even my copies (for practice) of well known pieces … Continue reading Part 1, Project 1, exercise 1 – Gesture: the limits of the body’s reach
November 5th, 2020. It isn’t ideal to be doing the ground work post hoc for the practical work it’s likely to inform but, due to ongoing actual ground work, that has been the way it has had to be. This … Continue reading Formative feedback
Strayfish Arts 