The parent category for research and reflection posts.
This is quite a significant piece of work and, although it runs alongside the set projects of Studio Practice, it’s work that can be of any theme, any genre, and any media, size, or style. Because of that, and because … Continue reading Parallel project – first thoughts.
The final series of images is a combination of learning from previous modules and in-situ serendipity whereby something unusual happened because of light and reflections being different in my new space. The first image (green) began as randomly as I … Continue reading Assignment 1, reflective account
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
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
Organisationally tricky to integrate and take from one blog to another, I may just make this a cumulative post and take the link forward. Secrets of dust – pastels with Tom Walker PS via Mall Galleries. Pastel demonstration by Tony Allain PS, also via Mall Galleries. Watercolour demonstration by Brian Smith RI. Via Mall Galleries. Introduction to Intellectual Property and Copyright – Lisa Moore and Marie Hounsome for OCA. 10/03/2021. Due to be posted on the university site. Oil demo of an urban landscape by Adebanji Alade VPROI. Via Mall Galleries. Continue reading Webinars, video demonstrations/tutorials
Last time I took a pop at painting light, I copied and then updated a Degas. This time, I’ve taken a photograph I found that purports to be backstage at the Bolshoi although for now I can’t confirm that or … Continue reading Light, again
Brief: look at three of the artists listed in the course materials. Before I began this task, I listed all the artists provided in the course materials and located websites with information and images. I did this over time, only at this final point eliminating the ones I had found least engaging, thereby leaving me with these three. At this point, I realised that all of them are mixed media, they all take discarded or found objects of some kind as their subject matter, and they all project a profound sense of meaning even if they are not always forthcoming … Continue reading Part 5, research point
Acrylics – democratising art practice? Until the early 20th century, artists had been working with the same painting materials for hundreds of years …. [t]hen in the 1940s and 50s acrylic paint burst upon the art scene. Artist’s Manual. Collins … Continue reading Part 5, essay – historical and contemporary use of acrylics*
Strayfish Arts 