I have had a frustratingly barren time lately, distracted by the local art trail and everything that involved and finding myself inventively empty. The previous post evidences my attempts to get back on track and what a bumpy track it … Continue reading Positive anthroposcenery #4 parallel project
Originally posted on Strayfish Arts:
I use a couple of apps to make animations based on original art work. One is MotionLeap which lives in my iPad and has a range of presets you can adjust to your own requirements;… Continue reading Filmora Pro – video tutorials by fast talking fellas
Originally posted on Strayfish Arts:
It’s not quite true that I’ve never done it before but, compared with a table in a village hall and a tent in a garden, actual wall space in an actual gallery room was not only a step up but also came as something of a culture shock. There’s a big difference between unstable carboard easels at child grab height or chasing after art work knocked off its stand by a heaving tent flap, and fresh white walls with barely visible hanging devices you’ve no idea how to make use of. Who knew fishing line… Continue reading Idiot’s Checklist For Exhibiting Your Work When You’ve Never Done It Before – by A.N Idiot
The Rhinoceros beetle; currently common in the UK (Wildlife Trust). Its lifecycle depends on dead wood and so it may reasonably expect to outlive us. This painting is in very dilute watercolour on a mirror tile. The effect is to ‘ghost’ the image and put the viewer prominently in the scene. If we don’t reduce our emissions dramatically and quickly, while it may outlive us, this may not be for long. This weird beast with apparent suckers on its margins is a Comma butterfly and I have given up on mirror tiles! 18th August. My intention was to paint a … Continue reading Positive anthroposcenery #2
Assessment runs in cycles and this is the Summer 2021 cohort. The bulk of the work shown is from first year (Level 1/HE4) students and gives an idea of the quality of work at even this stage. Add to this that everyone is working alone without a physical cohort, and often few facilities. Small spaces in a box room, the gap under the stairs, and in one case I know of, the back of a café, packing everything up each night to take home and bring back the next day. Most work around jobs, families, cats, and many other entities … Continue reading Summer Assessment – student work from Painting and Drawing
I can’t say this has been easy, but I can say that necessity is very much the mother of invention and with excellent tutor support, I’ve managed to invent myself to an unexpectedly satisfactory conclusion! I think I’ve said this … Continue reading UPM & Level 1 all done and dusted
This is from The Conversation 19/07/2021, republished with permission, and it’s here to come back to each time I need to get my head around the NFT (non-fungible token) business. Artists have to eat. They have to pay bills. Giving work away for ‘exposure’ as so many of us have done or are doing is a devaluing of the creative product and makes it harder for those whose livelihood depends on sales. At some level though, this seems to breach a barrier of seemliness. Patronage smacks of obedience; conformity to the wishes of a paying patron; being kept as a … Continue reading That Art/Money/Patronage thing
This project is still bubbling under but I’ve strong feeling now that it will be built from everything that has gone before and incorporate ways of working that have come from using materials such as mirror film and the selective … Continue reading Parallel Project – anthroposcenery #1
Way back, we had a maths teacher who is said to have advised students, ‘If you can’t answer the question, draw an elephant’. This is the obverse; a series of art questions I find I can’t answer because of their … Continue reading Assignment 4
Angela de la Cruz – is there anyone who isn’t a Goldsmiths graduate? With a background in philosophy, de la Cruz got her BA in Fine Art from Goldsmiths in 1994, then an MA in sculpture and critical theory from the Slade. In this exhibition she ‘mangle[s] the stretcher’, to ‘unleash [the work] into three-dimensional space’. I wish I could find this kind of work interesting but unless I know what it’s trying to say, it just passes me by. Novel idea but if it isn’t speaking to someone who would like to hear from it, how can it be … Continue reading Part 4, research point 1
Strayfish Arts 