Tutor Feedback – Assignment Five

Tutor Feedback – Assignment Five

06/11/17

Response and Reflection on Assignment Five

I have taken excerpts from my tutor’s report that reflect areas for improvement and/or suggestions for research and/or experimentation. My responses and reflections are noted beneath each.

Overall Comments

“…You are technically very able and show great potential as a printmaking. I hope its something you will continue with.”

Funnily enough, I was so relieved to finish the last project due to a looming deadline, I thought I’d enjoy a break from printmaking. It turns out, I’m really missing it. I keep thinking of new themes to work on. I really feel as if I will be actively looking for ways in which to include an element of printmaking into my future course work and personal projects. I have also been gifted a small die cut machine that doubles as a press for up to A4, and longer if I make an extended base, therefore, I have no excuse not to continue to incorporate printmaking in my work.

Feedback on Assignment

Demonstration of Technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Task 1 (Project 13)

“I’m unsure if you need all the text, perhaps the only word you require is ‘greed’.You have to leave something for the viewer to imagine. Sometimes less is more!”

With this particular image, I was quite excited by the idea of using text as the tower blocks being cleared away. I don’t think the actual result was quite as I had envisaged and this may have prompted this opinion from my tutor. I do, however, understand that I sometimes do over think and subsequently over do the explanation. I had similar feedback on Project 15, which I respond to below.

Task 2 (Project 14)

“These are beautiful little chine colle prints. This is an incredibly difficult process to master and you have technically very able work.

The composition of the shapes, colour text and chine colle had led to sophisticated imagery.

I enjoy the fact they are more ambiguous on first inspection. Again you are referencing your personal voice and working out your approach made evident in your sketchbook.

Collage may be something you wish to explore further, it may help you to place images and text together to explore new ideas and composition further.”

I have included this feedback, as although, there is only the encouragement to push the incorporation of  collage further, I want to remember the success of the ambiguity of text and shape. To remember not to give too much information and allow the viewer to make their own interpretations. A very valid point that I need to absorb for future work.

Task 3 (Project 15)

“This task sees you pushing personal voice further. Your imagery is referencing political posters, propaganda and protest art.

The linocut of Putin is very much in the style of Roy Bizley’s political linocuts.”

http://www.leicesterprintworkshop.com/exhibitions-and-projects/exhibitions/woodcuts_by_roy_bizley/

I was not aware of Roy Bizley and so have researched him and his work as suggested. Unfortunately, there are few images online except for John Major, Edwina Curry and I believe Kenneth Baker. I can see the similarities, although Roy Bizley caricatured these portraits, which I was trying to avoid. These images prove how powerful printmaking can be to push home a point when in skilled hands.

“The people’s history museum has a great collect of posters.

http://www.phm.org.uk/our-collection/introduction-to-our-collections/ “

The banners and posters within the People’s History Museum is fascinating. As well as the overtly party political posters, I was drawn to the “This is Hull” anti-racism 1979-1982 examples. The strong colours and textual imagery are very powerful. Perusing their website was frustrating as it hinted at so many great images. I love where I live now but this is one of the main drawbacks of inhabiting a small volcanic island off of the African coast. We have a lively arts and crafts culture and community here, however, I miss out on the wider choice of viewing – at least I have the internet!

“Your bravery and approach to making meaning artwork is to be applauded. The lino of Putin is well cut. I’m unsure if you need all the text. Would the image be stronger if it said ‘ From Russia with?’ This would leave something for the viewer to reflect upon further.

All the images may have benefited from further drawing and working out especially with the quantity of text. Maybe the only word you needed on each image is power?

This work is certainly ambitious and exciting. I believe it poses many questions for you about the kind of work you want to make.”

I really wish I’d thought of the “From Russia with ?” !!! However, I was researching Putin’s influence and consequences and came across a photograph of a poster from a demonstration with Putin’s face made up as if in drag, the rainbow and those words. As my tutor points out, maybe if I had taken more time to draw it all out prior to committing, this sort of thing may have been more obvious. It really does drive it home, that there is a fine line between planning and naturally evolving a piece of work.  Again, any text has to be relevant yet not specifically spelling out meaning – I need to leave something for the viewer to become involved with – or they will just walk by. I have learned that myself, as I like to keep looking at artwork and keep seeing more.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

“Your sketchbook has continued to be used as an integral document throughout the course. You have combined imagery and text to really plot and plan your work. The journey through all your processes and thinking is here. You are combining thumbnails and drawing. It may help you to include more sample prints as well.

Would an A3 sketchbook help you? You feel very contained in this book especially once you started embracing more personal themes.”

Again very valid points, towards the end of the projects, I did add a couple of practice/sample prints and it made my jottings in my sketchbook more coherent. I think prior to submitting for assessment, I will see if any of these will be relevant to add retrospectively. Regarding the A3 sketchbook, I have to agree that the A4 books were beginning to constrain me and I found myself planning out on separate sheets because of this. Nothing wrong with that, but to keep everything together it is something to really consider. Beginning the Level One courses, I really enjoyed the A4 books and love the series of sketchbooks I have accumulated over the time and often look through them. However, the further I travel this degree path, I feel that they may be limiting my experimentation and flow of thought.

Learning Logs or Blogs/Critical essays
Context

“Your learning log is very well organised and easy for the reader to follow. It has developed in a reflective manner throughout the course. You are posing questions to yourself around themes and technical decision making.

Living in Lanzarote you have less access to contemporary galleries than the UK students. I recommend looking at Tate shots on you tube.”

Noted and will keep referring back to this and Youtube, thank you for the tip!

Suggested reading/viewing
Context

“Have a look at Banksy.”

This was an enjoyable and thought-provoking perusal of Banksy’s work. The images are often minimal and demonstrate what my tutor is trying to make me realise. I do not have to spell out my message explicitly, it just needs to be enough to make the viewer stop and think. If they come away with a slightly different message, then that’s fine, maybe they’ll keep coming back and depending on their circumstances will find more in the work another time. The key is to keep them looking and thinking. I can see that stencils are sometimes used and are repeated to say something different depending on the location, this is something in common with printmaking. I’ve noticed printmakers doing this before in my research, a repeated motif does not mean unoriginal work but a progression and expansion of a message or theme for example Clare Curtis repeats her forest elements regularly.

“Many artists during the 1960s and 1970s visibly opposed the Vietnam War including Ronald Haeberle, Peter Saul, Carl Andre, Norman Carlberg and Nancy Spero and produced artworks that raised awareness and called for the responsibility.”

Ronald Haeberle – When I was young the Vietnam war on the news every evening, I don’t recall anything about this, yet I can appreciate that this was a brave photographer. He did his day job by taking official army photos yet also recorded what he was witnessing on his own camera in colour. I’m sure he could have been in a lot of trouble should this have been discovered and he was instrumental in bringing evidence at subsequent Court Martials. – his pictures were truly shocking but served their purpose.

Peter Saul – activist pop art? His work is so colourful, yet as one headline says “the grotesque art of Peter Saul”, and when closely viewed, some of it really is grotesque, yet meaningful in its imagery.

Carl Andre – famous in the 70s for his brick sculpture in the Tate, he builds his sculptures on site in the exhibition space sourcing local materials. From the information I could find, I struggle to connect his work with the social commentary aspect we are discussing, however, that doesn’t mean there isn’t a relevance, maybe I just need to look harder.

Norman Carlberg – a sculptor and printmaker. He is associated with constructivism movement and I find his work very undulating and although completely man-made, it has an organic feel with curves and angles that seem natural. I found one painting relating to the Vietnam war that was credited as courtesy of Norman Carlberg, which I assume means he was the artist? It depicts a  darkened room full of caskets draped in the American flag to symbolise the lost lives of soldiers in the Vietnam war.  It does have a patriotic ambience but also a respectful one – the room itself is constructed of the US flag. Although it has the style of his sculptures, being minimalist, graphical and geometric in design, I was surprised that it was a painting.

Nancy Spero – I’m so glad my tutor has brought this artist to my attention. So many of her themes are still relevant and extremely important to me. Her war series are quick gouache and ink sketches that say so much with so little detail. Researching her, she is glibly (in my opinion) described as a feminist artist, she is so much more than that I can see from a brief overview. I will spend more time looking at her work and have found a website of her quotes about it and how she thinks. I note that she also uses text within her work.

“One of the most famous figures associated with political activism in contemporary art is certainly Ai Weiwei. Using his art to address the corruption of Chinese government and their neglect of human rights, but also other politically touchy issues, Ai Weiwei has become a synonym for disobedience. Some of his most memorable pieces are the Study of Perspective series where he took photographs of his middle finger sticking it up various monuments around the world including Tienanmen.”

Ai Weiwei – I think you cannot not have heard of Ai Weiwei. Just reading his Wikipedia page, it is difficult to believe all that has happened to him, his family and associates, and that he still finds it in himself to continue his activism and social comment. I remember watching a documentary about the Sunflower Seeds and marvelled at the fact that they are all individually made of porcelain and hand painted by Chinese artisans. I take from this the inference that we are all individuals but en mass we all look the same – so why the division – and it’s only getting worse.  Again, another artist that needs so much more research.

“Have a look at Arab Spring Graffiti.

Despite not being a coherent art movement, some of the most immediate, insightful and human art seen for some time has been produced during the Arab Spring in 2011 when protesters armed with spray cans articulated their interpretations of the uprising on the walls around them.

These are a few artists that may be of interest. Reflect on how they engage their audience with their message and how they use different methods.”

Researching Arab Spring Graffiti and Art I came across this Telling the Story of the Arab Spring: an Interactive Graffiti Map. This is fascinating and again, shows the bravery of expression, allowing views and opinions to be shared and debated openly.

Artistic activism can be so powerful and strikes fear into oppressive regimes, particularly now as the (anti-)social media explosion spreads the visual “word” far and wide. Cleverly, it need not be overt or particularly aggressive, just visible.

“Pointers for the next assignment

  • Continue your development of themes and personal voice in your artwork to give meaning to your making. Keep asking yourself what am I making work about and why.
  • Use your ability to sketch to work out imagery include biro and marker pens in your line work.
  • Keep the passion in your work.”

My tutor has pushed me to use pens and markers before in my development work and, in Project 13, I did just that. I do keep forgetting and naturally reach for a pencil, which is ok, but maybe not as expressive as other implements would be.

With this course and tutor, I feel that my personal voice, although in its infancy, is coming through. It needs refining to a well-considered point, although the occasional “rebel yell” is valuable! Inspiration for opinion based subjects is flooding into my head. Although, this is a strange and troubling time globally, it is not short of subjects, issues and reasons to speak out in visual art. I have a passion for image making and now have a vehicle through that to share my passions for social justice. This last research has empowered me to say what I think in a way that overrules my natural reticence.

 

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Tutor Feedback – Assignment Four

13/07/17

Response and Reflection on Assignment Four

I have taken excerpts from my tutor’s report that reflect areas for improvement and/or suggestions for research and/or experimentation. My responses and reflections are noted beneath each.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

  Task 1 [project 11]

“I believe you are using oil based inks, reflect further on how you are choosing colour. These inks mix well on a slab. I recommend exploring your colour choices further.”

I note that on the next project, I am asked to explore unusual combinations of colour, so it should be more at the forefront of my mind. I agree that colour has not been given enough importance in my printing so far. I need to address this more within my development and planning process.  As the simplification of shapes and images are necessary for a successful print, this then puts colour as a major component in the success of the message I am trying to convey.

TASK 2 project 12

“You really have taken on the world with this theme Gina!

You have produced technically able and well inked collagraph prints .You have a lot of pressure on these prints, I’m presuming you have access to a press. You need to set the pressure to the highest surface on your plate or board to run through the rollers. The paper is nearly ripped! You are showing very good inking skills at avoiding oozing and uneven inking.

I recommend reflecting further on how you use and mix printing ink. Oil mixes very well. I would take some more time honing your colour pallet .You have picked a vibrant and bold colour pallete. I’m unsure if this reflects the message of the work.

Language has inspired you to the make these prints I’m curious as to why you didn’t include text? Donald Trump has caused such controversy by his choice words these ‘quotes’ may have proved more powerful than being representational in your approach.”

Three points to tackle here. Firstly, the pressure used when printing. I had to smile when I read that I may have access to a press. Unfortunately, I don’t at the moment. When taking the first couple of prints, I used a combination of a clean roller and the heel of my hand to make the impression. It became obvious that I was losing a lot of the texture and ink between the collage materials and the prints were looking “empty”. From then on, I used the same as before, plus my thumbs and fingers to negotiate the lumps and bumps beneath the paper. Some aspects needed such intense pressure my hands were throbbing! It was just my sheer over enthusiastic attempts to eek out as much detail as possible that almost tore the paper. I had soaked and blotted the paper prior to printing and this helped enormously, although I realised I had to ease off a bit as it was rubbing away the damp surface.

The issue of colour again. I had actually tried to incorporate the choice of palette in the design, however, it may have missed the spot on the final image of the three in particular. I had considered more sombre colours ie greys, heavy purples and blues and these did find their way into the final print. The problem was conveying the “warming” aspect of global warming. I spent a long time looking at the different colour treatments of the prints for the final image. I think the second print may have had the right tone for the sky, in that it looks more foreboding. I rejected it because of the ridges that appeared – I think from the overly thick layers of glue on the block. I also thought the foreground was not strong enough. In the final print for the last image, I now think – with hind sight, that the yellow was too prominent and “sunny” in character. If the setting sun was more red, it would have been more dramatic and “angrier” against a darker sky. So on reflection, I had considered the colour quite a bit, but have not really made the best choices to fully illustrate the message.

The last point was regarding the omission of text. I did touch on adding it within my idea development, although, I think my main concern bubbling around in my head, was how to incorporate it within a collagraph. I tried it out in a thumbnail in my sketchbook, but it looked more like something that would work in a linocut rather than a collagraph. Maybe I should have taken up the challenge? … Why on earth did I not even think about using the man’s tweets as quotes??? I still can’t believe I missed that!

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

”  You are using your sketchbook like it’s a really important part of your process and thinking. It’s good to see you combine text, evaluative reflection and visual ideas in this book. As you develop you may wish to build on your imagery – by this I mean work out as many methods and compositions for your concepts through experiments and drawing as you can. Reflect upon why you reject something and not other ideas.

You have a great deal of pencil drawings in this book I would vary this to include biro and fine line pens. This will give a different energy to the drawing.”

I think I am beginning to work out variations of my ideas and am more open to changing my mind and swapping ideas around and documenting it in my sketchbook, although I need to reflect more on those decisions.

I will try and use other drawing materials and not just pencil. I will need to put these out ready to hand as once I get going, I just pick up the nearest thing to draw with and that’s usually a pencil, but yes, varying line will help put life into my thoughts.

Learning Logs or Blogs/Critical essays

Context

” I spent a good while looking at your log trying to find a ‘response to tutor feedback’ section. I might have just not seen it. This may help you reflect upon what’s written and if you wish to reject or include actions in your new work. I would also look in detail at the artists recommended.

Squeak Carnwath maybe of interest to you for the way she uses objects and her approach to painting, selection and composition.

http://www.squeakcarnwath.com

https://www.youtube.com/watch?v=MSPWbgdkqj8

The point regarding responses to tutor feedback is a very valid one. I do look at the suggestions and follow them up but am lax at documenting this. I have rectified this now by creating a Tutor Feedback – Response and Reflection tab in the menu under Printing 1 – Introduction to Printing. I have retrospectively documented responses for each assignment of this course, which incidentally has been very useful coming up to Part Five as many of the techniques will be revisited here. I will continue to add this under subsequent courses.

Squeak Carnwarth – I can see why my tutor thought this artist may interest me. Apart from the mountain of quality work spanning four decades – the use of text, the incredulity of DT being POTUS, the inspiration of song titles and lyrics and probably many more things that my initial perusal has missed. I like the return to familiar motifs and themes, the reworking and multiple layers. I will have to return to her many times I’m sure.

I enjoyed the video – I always like to see and hear artists in their studios, watching them work and hearing how they think. Very interesting to hear that she never plans her work (I’m a serial planner!), yet she won’t entertain any other method than paint. Even as she said this, a lot of the work appeared to be collage, but it is all paint!

Suggested reading/viewing

Context

“Have a look at the Guerrilla girls and how they use text and graphic imagery to discuss and protest. They also have a response to Donald Trump’s policies.

https://www.guerrillagirls.com/projects/

Barbara Kruger is a pivotal artist for combing text and image

http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html

https://www.moma.org/collection/works/64897

Guerilla Girls – Informative but extremely depressing. Things have not moved on much have they! The graffiti wall of quotes (was not aware of most of them prior) was horrific. It certainly is an eye opener and a catalyst for future themes.

Barbara Kruger – Although I understand why it was suggested I look at this artist, I found her work did not speak to me as much as I thought it would. Maybe I’m a bit “researched” out at the moment. I did save a few images to Pinterest for future viewing ie: “Your Comfort is my Silence”, “Questions” and “You Make History When You Do Business”. These provoked the most reaction in me at the time.

Pointers for the next assignment

  • Continue your development of themes and personal voice in your artwork to give meaning to your making. Keep asking yourself what am I making work about and why. You could introduce mind maps to expand you thinking.
  • Make your themes [personal voice] more overt in your log.
  • Spend some time writing up a reflection on feedback and the suggested artists .Are they of interest and why or not?
  • Use your ability to sketch to work out imagery include biro and marker pens in your line work.
  • The next assignment is combination printing with chine colle, this is a collage type process involving glue. You may find Japanese rice glue the easiest and most effective. Some of my other students have found pritt stick glue effective as well

http://intaglioprintmaker.com/shop/japanese-rice-paste-nori

I like the idea of Mind Maps – even as a finished piece.

The other points are in my mind for next time and onwards.

Tutor Feedback – Assignment Three

12/07/17

Retrospective Response and Reflection on Assignment Three

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

 

 Task 1 [project 8]

This is an ambitious lino print with 2 images requiring good technical skills as they mirror each other on the paper. Your choice of paper is excellent as is the space you have given each image to breathe. This demonstrates a good understanding of composition. Your choice of text although autobiographical is powerful and poignant and therefore resonates with a wider audience.

I attach a link to contemporary artists that make work incorporating image and text – this may be something worth expanding on

https://www.theguardian.com/artanddesign/gallery/2009/aug/04/words-book-text-art

There is a great book, if you can get a copy cheaply, that contextualizes the relationship of image and word, showcasing many artists that explore and expand on these possibilities. Art and Text, Aimee Selby, Dave Beech, Charles Harrison, Will Hill

https://www.waterstones.com/book/art-and-text/aimee-selby/dave-beech/9781910433188

I read you are disappointed with inconsistency of printing, practice makes perfect and out of quantity comes quality. With reduction print I would advise printing at least 10 prints and hope by the end 1 is perfect.

This has been an exciting project and could lead to even more advancement with text if it’s something you wish to follow-up.

I personally was pleased with the text aspect of this print, although I wasn’t entirely sure if it was “cheating”. I really must get out of this purist mind-set – for that is what it is. I remember being told very distinctly that I should not use white in a watercolour painting, I should not use black paint at all, I must not colour outside the lines etc etc. Why not? I must question more! Anyway, hopefully the book mentioned by my tutor is winging its way to me and I am excited to see how text can be an image too and how other artists have incorporated it.

I have also created a Pinterest board called Text in Art for pieces that have text in or as art. I have included the artists noted in the Guardian article. Most of these are using text as art rather than just within it. I am not wholly sure if I like this as much as using it to enhance an image, mainly because mostly they come across as comedic to me. Not that I mind that, it maybe seems more shallow? I will have to source some more examples, maybe I react to the more ironic?

I have kept the possibility of including text in mind, and as these are retrospective responses, I can say that I considered it for Assignment 4, but at the time could not see it working.

 TASK 2 project 9

“You have used quite an array of unconventional cutting tools evident on your blog for this task. Looking at those implements I’m astonished the outcome is so delicate!

I’m a little perplexed by the quality of surface of the print, but I think the marks haven’t indented into the lino/surface enough to cut a mark away. You have certainly been diligent in your experimentation .You have also achieved good inking. I can see from your blog you are having trouble sourcing materials on Lanzarote – you are doing very well with what you have managed to find. I’m interested to know what inks you are using? These are giving you slightly unconventional results for block inks.

You may wish to work further into this block even adding a word to each rectangle!”

I always enjoy the experimentation of mark making with random and found implements. It is never predictable. The inks I’ve used were brought from the UK and are oil based Sakura Japanese inks. I only have four colours, Red (19), Yellow (3), Prussian Blue (43) and Black (49). Unfortunately, Prussian Blue is the only blue I could get at the time, it is a strong colour but hasn’t caused too much of a problem so far. My other option is to use oil paint to mix, and I usually add linseed oil to the inks so this helps them blend nicely, particularly Titanium White. I also have some water-based inks by Speedball (which I may be able to have delivered here) in some interesting colours ie Brown 3606, Orange 3607, and Copper 3616. These have been useful, particularly when I was monoprinting and for some of the lino prints. I also have a small, fast disappearing tube of Black 3400 in the same range. If a larger range of colours is needed, I brought a tub of Daley Rowney System 3 Block Printing Medium with me from the UK to mix with (freely available) acrylic paint. This has been a life saver, although it is a challenge using acrylic at times in this heat, even with the medium! Unfortunately, I am also halfway through the tub but I am hopeful I will be able to order this online – fingers crossed. So far I’ve only come across one other printmaker here but that was before I completely moved over, so I didn’t think to ask where she got her materials from. Everyone else I work with are either painters, sculptors, photographers or potters – I will maintain the search for the holy grail of printing materials!

TASK 3 project 10

“You have resumed imagery developing personal themes and interests for this task. I like your reference to freedom of speech as a theme in your blog. I’m wondering if further experiments with text and words would have resulted in more powerful work for you. There is nothing wrong with obsession.

I quite like the dreamlike quality achieved in this print. Your choice of paper is excellent and is helping the ink .I’m interested in your choice of colour’s, scale of work and movement achieved. I’m unsure if the ‘world’ shapes are needed they are somewhat obvious.”

I did respond to this in an addition to my assignment reflection, of which I have added an excerpt here:

From my tutor’s feedback, I now feel that I was too close to the print result to really assess it clearly. The feedback was positive on the paper used and how it helped the inks work better. Regarding the image itself, it was interesting to see that the elements I perceived as “wrong” or not working were the elements that worked better for my tutor, with the planet shapes considered possibly being too obvious. I actually see that myself now and as I review the prints, I am more positive about them. Instead of re-working for this assignment, I think I will leave this as a moment in time and return to the subject in another project. My tutor is keen for me to explore more text and words in my work and I think this would be an interesting route to explore further.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

  “You are using your sketchbook very well and clearly demonstrate emerging themes and concepts that feed your visual work. You may wish to expand on these further by including bibliographies and references around your thinking. I really like your use of thumbnail sketches that explore imagery before committing to print, this is working extremely well for you. I would expand on this even more – you may wish to use tracing paper to copy bits of the images and overlay these with others to form new patterns and shapes. I would push your choice of imagery even further in the sketchbook. By this I mean expanding on imagery for your concepts and working out as many different ways of representing ideas visually as you can think of. Continue to combine reflective text with imagery as you are doing.”

This is interesting – I read this at the time, however, I didn’t really think I had absorbed it. However, as mentioned, this is a retrospective response, it appears to have subliminally filtered through. I say this, because in assignment 4:

  • I began to note books and sites I had referenced in my sketchbook
  • Used tracings to place over drawings to expand the ideas
  • Used drawings to explore different paths for an idea before deciding on the final images

Learning Logs or Blogs/Critical essays

Context

” For development I would recommend a greater amount of text around your chosen themes [personal voice] this text in many ways should be as detailed as your process text. You could develop your bibliography and research sources here.

It may help you to look at how reviews of exhibitions are written to look at the language used. I attach a few-

https://www.theguardian.com/artanddesign/2016/oct/25/paul-nash-review-pain-wonder-menace-tate-britain-london

https://www.theguardian.com/artanddesign/2017/feb/12/david-hockney-tate-britain-review-retrospective “

I am beginning to include the personal voice aspect of my ideas and their development in my Learning Log. However, I completely agree that I shy away from referencing research sources and influences. I will try and include these points in future reflection as well as sketchbook work.

Suggested reading/viewing

Context

Have a look at how artists are using text with imagery, there are so many good artists I name but a few –

Roni Horn

https://art21.org/read/roni-horn-words-and-pictures/

Tracey Emin

http://www.tate.org.uk/art/artworks/emin-exploration-of-the-soul-t11887

Ian Breakwell

https://artmap.com/ianbreakwell#_f0y6b

Kurt Schwitters

http://www.tate.org.uk/art/artists/kurt-schwitters-1912

Scarlette Homeshaw works extensively in reduction techniques cutting small areas of lino away before printing again her work is heavily layered. You may find her imagery interesting.

http://www.scarlette-homeshaw.com/kent-collection

I have captured, where I can, some of the images for my Pinterest board – Text in Art for future reference. Whilst looking at some of the suggested sites in this feedback I have had sparks of inspiration and noted them down in my notebook for future themes. This is what I have been missing, noting sudden light bulb ideas for future reference! I was particularly smacked between the eyes by an image by Ian Breakwell called Maxim 2003. The coloured pencil drawing was simply a circle with the words along the curve internally “It is better to be hemmed in” and at the bottom curve, externally, “than to be hemmed out”!! Now what aspect of current affairs could that possibly illustrate, I wonder????

I was completely captivated by the stunning work of Scarlette Homeshaw – absolutely beautiful – I will return to it.

Pointers for the next assignment

 

  • Continue your development of themes and personal voice in your artwork to give meaning to your making. Keep asking yourself what am I making work about and why.
  • Make your themes [personal voice] more overt in your log.
  • Use your ability to sketch to work out imagery and compositions further.
  • Reflect further on your choice of colour and include this in your reflections.
  • The next assignments focuses on collagraph – be aware that sometimes less is more when placing shapes and collage materials on a surface, its easy to get carried away sticking. The results can lead to an inky mess without planning and control. Begin with ideas and keep exploring your themes that will lead to more sophisticated work.
  • Take multiple prints from your plates exploring different colour options.

I will continue following this advice – particularly now focusing on colour – again as retrospective, I know this comes up again!

Tutor Feedback – Assignment Two

11/07/17

Retrospective Response and Reflection on Assignment Two

Demonstration of technical and visual skills, quality of outcome, demonstration of creativity

Task 1 (Project 5)

“It is very easy to underestimate the skill required to make good quality lino prints. The inking would be improved further with better quality paper even a 200g cartridge paper would help the quality of your work. This clip by arches papers may help you understand the impact of paper on a print. I’m not advocating you spend a fortune but even a thicker cartridge would help.

https://www.youtube.com/watch?v=kSJO9ctCi5A “

I watched the above video and began to understand how the quality of the paper can really affect the printing results. The sizing and weight of the paper makes a big difference.  Since then I have considered which paper to use consciously, using Somerset printing paper, heavy weight water-colour paper and quality, heavy weight cartridge. All have given me much better results with subtle differences that I am beginning to recognise and exploit.

“Angela Cavalieri’s large scale lino work shows incredible skill at cutting and printing it’s worth watching this video to help with technique.

 

https://www.youtube.com/watch?v=f0oWrgfd9iE&nohtml5=False “

I watched this video several times with incredulity, I hadn’t even considered it possible to product prints of such dimensions and not putting pieces together like this. I, of course, do not have the space or a ready and willing band of helpers to add press and reveal the print. However, it has opened my mind to possibilities. In addition, I like the fact that if a section does not print perfectly, it is fine to fill in with ink afterwards, and also to paint in the background colour. I did find a reference to this video in my blog here ,  under Preparing Your Design.

Task 3 (Project 7)

“The work presented for project 7 is a leap in sophistication from the other prints submitted. The bird motif is well composed and despite your critical writings you have mastered the technical requirements of lino printing extremely well. I would consider further your choice of colour in these prints. They are tonally similar in strength, have you considered adding more white to one of these colours? There are many more options compositionally that could be achieved from these plates either through the use of colour or placement of the blocks. Reflect how these images could be read by a viewer and are these achieving your intentions? The imagery is quite beautiful but ‘safe’.

It would help you to develop more drawings and thumbnail sketches in your sketchbook before deciding on your compositions and symbols. Draw them quickly using a biro just to get ideas down on paper before making a print.”

The multi-block lino print had to be very carefully planned, thought through, cut and registered. With all this, I must confess, other than reproducing similar colours to those I saw in front of me, I hadn’t overly considered them.  It is another aspect to add to the list! Other than mixing red and yellow to create orange and layering the blue over the yellow to hopefully achieve green, I hadn’t thought any more. My supply of oil based inks is very limited as I bought the primary colours whilst still in the UK. I didn’t think to order white – I thought I just left the paper showing! How “green” was I!? Anyway, going forwards, I just added Titanium White oil paint and, so far, have got away with it. I am having trouble sourcing oil based printing inks here on the island. Although there are legends of two more art shops in the capital of Arrecife, I haven’t yet physically found them in the maze of old streets. The only one I have found, (after some tricky language barriers – Spanish for printing inks is tintas de imprenta apparently), the answer was “No”. By that time whether they be oil or water based was irrelevant. Online ordering is also drawing a blank for delivery to the Canary Islands of oil based inks. So for now – it’s all I have – I will have to use my paints to expand my palette.

Again, I see that I need to think about my themes/subjects more carefully. Why am I making this, what am I trying to say? The suggestion of using more thumbnails and development of ideas in my sketchbook fired me up and now it is a crucial part of my work process. It helps me work through fledgling ideas and move them on to something that may work in print. I can make decisions, change my mind, prove myself wrong or right before committing to the print block.

Sketchbooks

Demonstration of technical and visual skills, demonstration of creativity

“Your sketchbook is developing with each task .You are displaying new conceptual ideas emerging for future projects. Continue to combine reflective text with imagery.

You have extremely competent drawing skills that I would continue to use a source of inspiration and development. I would recommend before launching into making a print produce further drawings around the idea first. There is always more than one way to represent an idea and multiple ways to deconstruct a composition.”

Response as above.

Learning Logs or Blogs/Critical Essays

Context

“You may be interested in the work of Jackie Berridge who has explored themes around power and control using animals to discuss her narratives in an unnerving manner. I especially like her drawings with donkeys. These are extremely powerful and moving.

http://www.jackieberridge.co.uk/drawing/2011/silly-ass.html

http://www.jackieberridge.co.uk/drawing/2011/Sad-Cow.html

http://www.jackieberridge.co.uk/canvas.htm

 

Your writing also reminds me of Marcelle Hanselaar’s work.

http://marcellehanselaar.com/etchings-2015-crying-game/

 

For improvement reflect upon the artists you are researching and ask yourself how and why their work, methods or thinking influences your own strategies for making.”

Jackie Burridge – I must admit that I did look at these when I received my report but didn’t quite get it then. I think my tutor is more in tune with where I was heading than I was at the time. Now I look at these, particularly the drawings and understand or interpret them in a way that means something to me. The crowd mentality, not accepting anything/one that is different ie “Birds of a feather, flock together!”. This is particularly prevalent in today’s social media society and, I think I alluded to that during my work reflections. With regards to the paintings, it was a shame I couldn’t expand them to see the work in detail, however, a couple made me smile and ponder, these I’ve added to my Pinterest Contemporary Printmakers board – even though they are not actually prints. It was interesting to see the initial drawings that would become the paintings.

Marcelle Hanselaar – The Crying Game series of etchings is hard-hitting and extremely thought-provoking. I see now why my tutor drew parallels with my writing about possible themes and subjects. There is a lot about the exploitation and value placed upon women, however, we can see women as symbolic of all of the disadvantaged, innocent and manipulated. Not that I think women are all these things as individuals but as a perceived global whole, those of us who are “lucky” enough to be in forward thinking, fairly safe environments are shielded from much of what goes on – or are we? Who knows what goes on behind closed doors. A powerful and limitless theme. Marcelle’s etchings are fabulous at putting across the pain, the inner strength, the struggles, the injustice – I hope to be able to emulate the simplicity of the image that clearly expresses the complexity of the subject. A very big ask, but the challenge is laid down!

Suggested reading/viewing

Context

 

“Jackie Berridge for themes around power involving women.

http://www.jackieberridge.co.uk

 

Marcelle Hanselaar’s work for powerful use of themes in contemporary printmaking.

 

Ana Marie Pacheco for symbolism and narratives in work

http://www.prattcontemporaryart.co.uk/ana-maria-pacheco-2/

Ana Marie Pacheco – This artist can certainly tell a story, in paint, sculpture and print! Her sculptures were very disturbing, particularly for me, The Banquet and The Man and His Sheep, especially given their size. Her print series were all exceptional and full of meaning – I have to admit that I was not familiar with some of the stories/themes used for inspiration. However, the ones to which I could relate to more, were “There Was This Jaguar”, a common tale where a majestic beast is brought down by humankind because of perceived fear and danger, “The Miraculous Journey” following journey of the vixen from fear of the unknown, her manipulation and exploitation through to her discovery of herself and realisation of her dream, “Domestic Scenes” which were anything but the visions that may spring to mind from the title, no domestic bliss here but again, exploitation and dominance over the weak.

Pointers for the next assignment

 

  • Continue to reflect on the wider context of your work, keep asking yourself why and what is it about?
  • Continue to use your log in a reflective and evaluative way
  • Continue your development of themes and personal voice in your artwork to give meaning to your making.
  • Reflect upon the scale and shape of your work are your images this shape because that’s how the lino was sold in the packet?
  • Use your ability to sketch to work out imagery.”

Am taking these forward with all projects.

Tutor Feedback – Assignment One

Retrospective Response & Reflection on Assignment 1

Demonstration of technical and visual skills, quality of outcome, demonstration of creativity

Task 1

You may like to research the work of Terry Frost and Richard Diebenkorn, particularly for their use of colour, composition and work that is both abstract but rooted in figuration.

I can remember looking at these artists’ work in relation to this feedback, and may have made notes in my sketchbook. I need to re-visit them for this purpose.

Sir Terry Frost – As soon as I saw the images, they came alive in my memory again. Beautiful vivid colours and designs. As Terry Frost was one of the Newlyn artists in Cornwall, there is a strong sense of the sea, boats, and dramatic skies. His compositions have movement and action with a lively feel.

Richard Diebenkorn – This was an interesting suggestion as I had been to the 2015 RA Exhibition of his work. I hadn’t immediately thought of him as an influence for printmaking, which is now a strange thing to say, as these are all images, just created in different ways. This made me pull things together rather than compartmentalise according to media. I had enjoyed the exhibition, a little extract of my write up:

“I have to admit, I am true to my roots, in that I particularly loved the representative work, the life drawings, the figures, they all had so much energy, I enjoyed the workings over and over. I thought the still life in interiors were great (maybe because that is where I’m up to in my course – the negative shapes that built the structure and the patterns that weren’t ignored but celebrated as an excuse for more colour).  I was drawn to the “Ashtray and Doors” 1962, such a simple, almost throw away subject but it was beautiful and had narrative (no smoking ban in those days!).

In my humble opinion, I came away thinking that Richard Diebenkorn was a master in composition and colour, my example would be “Cityscape #1” 1963.  It has pattern, light and shapes that are recognisable yet don’t have to be – it makes sense to me, the flattened perspective works and still somehow manages to represent distance.  The seemingly cross over work, abstract-representative-abstract, is accepted by my brain, I’m getting a few steps closer! Looking at those of the Ocean Park series that were displayed, I did struggle, I warm to curves rather than angles and straight lines. However, I was drawn to the Ocean Park #27 painting for some time – there was more to it than geometric shapes, I liked the under painting and reworked lines and shapes – I felt absorbed but am not sure why.”

Task 3

“You are exploring multiple subject matters in the prints displayed, it will be worth reflecting on what really inspires you to make-work so you can begin to develop your artist identify. Try to push an image further and further with experimentation and possibly into abstraction. If you have access to a photocopier blow and image up 200% and continue to do this with each new image until its completely unrecognisable. It will give you an opportunity to develop something quickly.

You may be interested in the work of Pat Steir and Prunella Clough both for how they develop ideas into work

http://www.cheimread.com/artists/pat-steir  “

I started off looking at Pat Steir’s work and added to my Pinterest board of Contemporary Printmakers at the time of my feedback report. I have revisited and found a few videos that touch on her creation process. https://www.revolvy.com/topic/Pat+Steir&stype=videos

The above video is a little long winded an explanation but it explains the balance or partnership between experimentation and process.

Having just looked at the printmaking of Prunella Clough – I think I may have missed researching this artist and printmaker at the time – I have been inspired to continue with my climate change them (Assignment 4). Many of Prunella’s prints make me think of overhead  or birdseye views that I may explore, with layers of colour and texture.

I have created a Pinterest board for Contemporary Printmakers.

Context

Learning Logs or Blogs/Critical Essays

“Your log is an excellent example of your organisation. Your process and challenges are clearly charted. You reflect well on artists that have underpinned process. This log could be developed to include greater reflection on your ideas and context of images.”

My Learning Log has been developing with me and I am including more of my thought processes within it, rather than just relying on my sketchbook notes.

“Pointers for the next assignment

  • Continue to use your sketchbook as an integral part of your process.
  • Continue your log but try to add more reflection on themes and context of subject matter
  • Reflect more fully on the wider context of your work and what you are making work about.
  • Think about developing your subject matter”

My sketchbook is my “go to” tool for  brainstorming, developing, and experimenting with ideas.

As mentioned above, my Learning Log has become not just a record for the processes, outcomes and assignments but I am beginning to build in more reflection on what and why I decide to make my work about. I am bringing “me” into the process.

My subject matter is becoming more personal and therefore I have many routes I could take, if I don’t follow some at a particular time, I can always revisit and push it further.

All in all, I am very happy with this first Tutor Report and have many things to consider for the next part of the course.

 

Tutor Feedback – Response and Reflection – Introduction

11/07/17

Introduction to this Section: Tutor Feedback – Response and Reflection

This has been an area where, from having read somewhere that it was not desirable to post your tutor feedback without their permission, I have neglected to at least respond to areas formally. Previously I had alluded to feedback and subliminally applied advice that was given, but not categorically responded or reflected upon it in my Learning Log.

This is in itself a response to my last feedback – as my tutor struggled to find any cross referencing to any previous comments. To be honest, so did I, although I have viewed suggested video, artists and taken advice on board, it is very sketchily documented if at all.

In an effort to rectify this, I have created this section to note suggested actions and processes and my responses. I fear I can only apply this to my current course of Printmaking 1, and will try and back track to previous reports. What I find I will document, however, retrospectively it may not be of the quality I would like, but from here on (Printmaking 1 – Assignment 4), I will include this in my Learning Log process.