Evaluative statement

Evaluative statement

Visiting Speakers

The artists that I feel influenced me the most was the Katherine Jones and Catherine Ade.  Katherine Jones in her the scale of her pictures and use of colour and Catherine in the context of her work.  Showing that printmaking is both contemporary and relevant in 2019.  It would be nice to see more speakers in the future who can push our ideas about what can pertain to be a Drawing or a Print (or whatever).  It would be nice to see more visiting speakers who feel Drawing and Print is a fundamental  part of their practice. 

Provocation Talks

Interesting set of talks about respective views on tutor’s various ‘fields’ though felt that there needed to be more provocation as an example to us students of the kind of conversations that happen in talks of this kind. In my opinion Lucy Ward presented the best provocation talk as she evidenced her argument, whilst tracking the progression of the practice of drawing has kept pace with other contemporary art forms and is therefore is just as valid as high art.  Though these talks only confirmed that I have a lot to learn from them in terms art history and that I have yet to work out were position myself as an artist.

Professional Practice Week

Some useful workshop, where I learnt about funding from Gemma Gunning (Life after UWE & Bristol Print Collective).  Also, the talk from Luke Jerram, who gave the most earnest account of his business in detail, it was astonishingly frank! This is what we need to hear as artists, that you don’t need to starve anymore!

I also managed to update my CV and apply to make speculative applications for summer internships working in print studios.  To learn how professional print studios, operate and better my chances of getting an art related vocation after graduation to stay connected to the art community.

Research Talks

These talks were interesting, particularly Ian Chamberlain gave the most ‘useful’ in relating his practice to Atlantic Wall project, the Impact 10 International Printmaking Conference – Santander, Spain and the context of his research.  It gave a basis to how myself, as a student could envision my future as professional artist and kind of opportunities that might lay ahead if I kept working hard on my own practice.

ExhibitionI felt that overall our group [BOAM] put on a good exhibition.  I take on board the comments that John France made in his critique and know feel that we would be in a good place to be able to independently put on exhibitions elsewhere.  Though the expense of doing shows through my research of finding a space is quite expensive and difficult to fund for undergraduates.  How to make a success of such events is still a mystery.  However, it did make me think that curating is something I would enjoy a career.  I have also found out that you can do MA’s in curating (i.e. School of Art in Aberdeen).

It has been through being selected for the F-block and centre space exhibitions I have gained the confidence to pursue other opportunities and started creating the Severnside Art Collective in my area.  We had our first exhibition on the 19th of May that was a success and there is talk of community based, socially engaged work for myself and other local artists in my area.

Tessa Web and other related PP Workshops

I did not attend these workshops due to other commitments and illness at the time.  Though I already do have website and am confident in giving presentations (not so much about my own work).  If this gets repeated next year maybe I could do them then?  Though having done my own website I do believe that have an online presence is vital as an artist in 2019.

Overall

I have learned a lot over the last year the highlights that truly influenced my work is the research talks, PP week and the group exhibition.  Things to improve upon is connecting to the Bristol art Community and going to more preview evenings and start having conversation with people, this leads to more opportunities and I need all help I can get!

RWA 166th Annual Open

Though I submitted two painting to this exhibition I was unsuccessful.  Though I learned a lot about how many exhibitions operate in terms of cost of entering, commission fees (35%), framing (done through Niche framing in Bristol and how many are a two-tier process of online application followed by handing in work to be judged.  All things I would still be none the clearer about if I hadn’t gone through this process. 

The style hanging ‘establishment’ hanging style of trying to get some exposure of my work seems quite difficult.  I have since started or made applications for exhibitions where the curators are encouraging emerging artist like myself, so I can hopefully start building up my CV.  I have also started looking for venues to do both an independent and solo show for the summer of 2019

The exhibition itself had quite a variety of works in which I was most draw to the work of Elizabeth Cowell in her 2018 Textural Memories: Distance series.  As I use encaustic and she uses cold wax it was interesting to come across another very textual medium that takes up the ‘memory’ of mark making between layers. 

I also like the work of Rebecca Child who is a RA member based in Devon who uses screen printing as part of her process is a person I would like to meet in how she …

“starts by looking, drawing and absorbing things around me, seeing, remembering them and sometimes imagining them afterwards in printed form”.

… as way to inform her practice.  She has been particularly successful in her careers

informs it.  She has also been involved with printing artist books for an exhibition with 50 printmakers in Darington in 2016 with the Devon Guild of Craftsmen.  Showing that screen-print as way of interpreting landscape and the format of books can prove successful for emerging artist.

https://rwa.org.uk/artists/rebecca-child

Woolwich Contemporary Print

Rosey Prince: Edgeland Mezzo and Dry Point Prints. 

Norman Acyrod

This is a true master who creates work that have a quality of light with a subtle tone value.  I have yet to do aquatint so can’t quite fully appreciate the skill of this artist.

Emily Crookshank (WCPF artist in residence).

Had an interesting conversation with Emily about how the materials have their own presence impressed and invites even in something that is quite minimal installation still has the presence of the artist hand.

I went to the collectors evening so that I could get an idea of how this was being work was being pitched. It was interesting how there were demonstrations of how prints are made to enable people understand what is involved in making fine art prints.  It had not occurred to me that collectors might not know how such prints are made.  It was also interesting in how potential collectors through being able to talk to the artists and see them ‘at work’ made them feel part of the work.  It has occurred to me that therefore having a studio and inviting potential collectors is very important! It was interesting to talk to Lizzy the curator of the WCPF and hear about the various ways artists were brought in to created something that reframes what is expected at a print fair. 

Richard Kenton Webb Research Talk

He began by introducing the ‘light dark’ contrast’ through Thomas Milton’s Paradise Lost.  Where his most recent work is a catalyst through large scale drawings on the ‘problem of evil’ that is balanced with humor to counter the seriousness of his subject.

Much of his work where ‘scale’ of the ‘angels’ that have ‘fallen’ vary in which the narrative of a contained space ‘hell’ these angels find themselves.  Which he argues by containing it in a space you can move around the space and evaluate the scene.

He begins to talk about the haptic sense of jangling sounds where we go into ‘hiding’ (which relates to the Adam & Eve story).  This hints at the multi-sensory experience he is trying embue into his work.

He categories these different books, which is interesting given the subject, book 1, 2 and 3. The third one being heaven.  Which is interesting because the way the bible is constructed into books reflects how he has approached these drawings.

Through his experience of walking where Columbus clouds offer a way of visualizes the spiritual presence of something.  Which offers a way to create something from nothing which he argues is what we do as artists.  Brooding over nothing, which seems to be a reemerging idea around his ‘thoughts in search of a thinker’ and a ‘thinker catching thoughts?

As someone who believes in God as a Christian, I personally believe that God is speaking to Richard.  And as a Christian it what seems to be emerging is God is waiting for him to turn around and listen to him and not just Lucifer side of the story.  Those visions of the prophets  have more to say. So, sat there listening to this as someone who has studied theology, I guess I understood much of the spiritual aspects of the work and just felt this story has yet to end.  

John France Research Talk

John after seeing how his practice overlaps the other lectures concludes with the acknowledgement of how his work is hard to access and it not particularly commercial

He begins this period after moving from London to the countryside Matisse where the movement created (27) through exploration of form and space.  His work before this was very tactile, bright.  The vortices and all the post-world war movements all influenced his work in this period.

He remembers how he was an outsider, living in west Cornwall.  That it was a period he has a free reign to explore.  He was more interested in what is art, or is it art?  Not particularly concerned with whether it was a drawing or a painting.

He then jumps 25 years forward.  In talking about Correspondence with Dark Matter (reminded me personally of influences from late John Hoylands work) where in 2004 he had a preoccupation with new paints that has refraction.  At this time that it was both beautiful that would be challenging to engage the viewer to ask, ‘rethink their world’.

He talked about how in his three major exhibitions he adopted personas in which he could journey from a world that is ordinary to one that is extraordinary.  He talks about recurring motifs through the decades. But in later works to begin a more earnest integrations of the materials.  Describing this work are about personal stories and that the death of good friends that is part of the human condition as we age.  Which he reflects on where he is now from being abstract to more narrative which is all been part of his journey.

Ian Chamberlain Research Talk

His was an interesting account of the progress made on his 3-year project (which he is half-way through) which features that Atlantic Wall 6,000 miles constructed by the Nazi’s and relates how questions the pointless of barriers and borders in how that the reflect the shifting political sentiment.

Echos from the Past: IMPACT international conference in Spain 2018 talked about a paper about contemporary print practice.  In how visiting these places is fundamental in his work.  So far he has been to France and Denmark where being there allows his own emotive connection and translate this through dark/ light that reflects his ‘lonely wander’ ego (Casper Fredrich) as identified found at the edge of places.

His process is a documentation location in both dysfunctional and current technologies. 

I was very interested in his forth coming provocation talk around the subject of contemporary and have acquired his book recommendation ‘Perspectives on Contemporary Printmaking – Critical writing since 1986’.

He uses etching as a natural extension of his drawings that sustain his enquires.  He acknowledges that etching is a not a cutting-edge process.  Though warns of how the process of print can be self-congratulation rather than a form of self-expression.  He acknowledges that he is a kind of visual documentation. 

It was interesting in how he used video, photo’s and sketches in his studio to inform his work that allows him to ‘virtually’ revisit these areas that develop into his etching.

Lucy Ward Research Talk

Her work has realise in her approach to her practice in drawing as way of recording the rhythms of life from drinking tea to when her baby wakes up in the night to try and make sense of irregular in the regularity ‘the patterns in things’.  This has been her preoccupation for ‘some time’ in how she can create visual pattern that is both domestic (like wallpaper patterns) and mathematical (patterns).

She was part of an exhibition where she drew straight onto the wallpaper of a building to talk about the temporal nature of this patterns of life.

She then managed to contact Felix Flicker (an Oxford physicist professor) where they correspondence to unlock this interest (quasi-crystals impurity and disorder) as things that repeat but not periodically.  About eight years ago said that they were found to exist in meteorite in Siberia.

She went Drawing conference (Drawing phenomenology) on what is the ‘realness’ of drawing?  In which indexical drawing or drawing as index it is about the drawings coming into being. 

Icon – it resembles

Symbol – meaning

Indexical – coming into being

She talked about a talk of Camberwell College that reflected the history of drawing in the fine art in the UK of which she would give talks about later in the year.  Adam Farrah he gave a ‘windows desktop’ presentation of what drawing can be, where he opened and closed windows.  Where she was confronted with this performance and whether how presentations will change in the future.  She also talked about the practice of drawing in Modern Art Oxford ‘slice through the world’ which takes a view of drawing as a practice since the 1970’s.

https://www.modernartoxford.org.uk/event/a-slice-through-the-world/
http://fineartdrawinglca.blogspot.com/2017/10/notes-on-drawing-phenomenology.html

Provacation Talks

Four talks given by the senior lectures in response to each other’s practices (refer recordings).

LUCY WARD       The idea of the sketch     29th January

This was an engaging discussion that argued that drawing has ‘grown up’ and no longer plays ‘second fiddle’ to established hierarchy of the high arts.  That it is as, if not more pliable than many other practices.  Something that can be truly multi-dis in how it used by professionals outside of the visual arts (musicians, surgeons, scientist). 

JOHN FRANCE  What is painting?             5th February

An interesting talk about his journey as an artist and how as aspirational young man want to ‘change the world’ through his art a belief he still holds today.  He then went on to explain painting conventions that lead to an agreement between John and Richard on that high art has an element of the meta-physical ‘somethingness’.