Course reflection and personal thoughts

Stretched, challenged and mentally stimulated would be the executive summary describing my journey through Studio Practice.  Exploring such a diverse range of concepts had in parts challenged and stretched my thoughts and notion to experiment, often questioning, ‘where is this leading?’ Reflection and perseverance (and knowing when to stop) are useful tools in one’s art practice. However, being in lockdown due to COVID 19 and working from home created capacity to fucus and maintain a degree of momentum that I had warmly welcomed and personally enjoyed.

Each part of the course was progressive and naturally steered a path that took me beyond my comfort zone to generate, combine and transform ideas through paint and other media. Despite my enthusiasm, research and practical application, the outcomes varied and was mirrored by a bow wave of emotions from despair to delight, and even a low ebb during Part 4, paint as a material and painting without paint.

One of the course aims was to expand the use of a range of media (both traditional and contemporary) and develop an understanding of linkages between various ways of painting and making a painting. This led me to some innovative techniques and methods, and use of tools that included an electric fan, an electric drill fitted with a paint brush and a blown chicken egg filled with paint that was dropped onto a hard surface but to name a select few. ‘Where was this leading’ often stimulated a ‘well, let us see where this goes’.  

As bizarre as it seemed, the process of experimenting identified ways to solve problems and nurture ideas within my own painting practice. The concept of creating a three-dimensional colour chart during Part 4 started with a two-dimensional painting based on a simple composition of three pieces of fruit. Through a series of experiments the result was a three-dimensional colour chart made of painted matchboxes.  The process from concept to creation was one of delight and satisfaction.

Being able to relate to the work of other artists and movements during this first Level 2 course had become evident in my practice. Following the research of the artists Amy Sillman and Jutta Koether, and reading James Elkins essay, I returned to the exercise ‘constructing a narrative’ (Part 3 – Project 3). Elkin writes that “the order of occurrence may not exist”, or “the order of telling is not clear”. Their work had inspired me to explore the possibilities of constructing narrative without a linear or chronological sequence, an idea I had previously discarded.

The parallel project was slow to get going, which whilst not intentional was foreseeable as the intent was to combine the parallel project with the critical review, thereby developing an academic understanding that might inform my decision making and practical application. In addition to research, I was able to reflect on those aspects of the course I had enjoyed, and what I had missed doing. Elements of the course exercises and assignments, and research of my parallel project and critical review led me to new artists and their artworks, such as Chiharu Shiota’s installations, Liz Rideal’s Touch and Identity and Riitta Päiväläinen Vistage installation of photographs. The project pathway eventually became self-evident although fascinating how it materialised subconsciously, and I was delighted with the body of work produced as a result.  Absent (Study of yellow raincoat), 2020, was recently one of two works presented for a blind critical review to a small group of fellow OCA students (images #4 and #7 of my submission). Their interpretation was insightful, seeing much more than I had, picking up on the narrative through negative space, a tonal balance of shadows and the composition.

The feedback from my tutor had been invaluable. Reflecting on each report during successive modules to respond or consider artists, movements or an alternative perspective. Encouraged by my tutor to challenge and surprise myself – I certainly feel as if I have done that.

At this juncture, having experimented with different materials and concepts, I consider myself as a painter, one who prefers to work with oil paints n a figurative style. My preferred genre is the human form, the figure and the face but of late my imagination has been captured by how materiality and materials can convey absence of presence or evoke memories or emotions. I aim to explore this theme further although it may be something that I return to post my next Level 2 course – Drawing 2.

Assessment against course criteria

Demonstration of technical and Visual Skills:

Some of the materials and techniques used during the course required a new and inventive approach, some of which have been incorporate into my practice. Looking at the amount of control an artist has on the outcome of a piece of work and the theme of absence of presence through my parallel project were fascinating to explore.

Researching other artists and developing concepts through preliminary sketches or studies has improved my observational skills and visual awareness. As I progress as an artist, referring back to sketchbooks has become routine and for easy reference (or to compensate for a short memory) I now note where ideas may have arisen, websites or books, or which artists may have influenced my thought process. The tutorial feedback was constructive and thought provoking, without being prescriptive or stifling my own thoughts or practice.

The design and compositional elements of my practice have been expressed through various parts of the course. During part 2 I used a tabletop composition to explore space and viewpoints. This led to designing and reconstructing these objects to create vertical structure. The concept and construction evoked personal memories and a connection with the original objects, something which the two-dimensional paintings had not. The intention was to carry this through to Part 4 – paint as a material, but it never materialised as other ideas were explored.

Quality of Outcome:

The information reaped through research, exploring new ideas and concepts allowed me to make informed decisions from which to develop my own ideas with the parameters of the course material. Researching artists, artworks, different styles and techniques, and mind-mapping ideas was influential in my decision making. This was evident during Assignment 3 and led to a successful outcome as a piece of work. This was communicated through my learning log, sketchbooks and my first attempt with creating an uploading a video clip.

By using a digital learning log, course work and assignments have been presented in a coherent and logical manner. Applying the same layout for each course has made it easy to navigate and view.

Whilst each exercise and assignment had sufficient latitude to allow personal concepts or ideas to be explored and developed, not all ideas were generated from the pages of the sketchbook, although this is often a good place to start. Larger studies explored boundaries or an alternative option to conceptualising thoughts. Using my learning log and sketchbook I felt that I had been able to demonstrate and communicate my thought process and ideas to produce an outcome.

Demonstration of Creativity:

Being imaginative and experimenting with ideas has not always resulted in successful outcomes, but it often led to other ideas. Being inquisitive helps and during part 1 was asked to consider the role that chance plays in creating art. It could be argued that imagination and experiments induce the likelihood of creating a piece by chance. During assignment 1 my intent was to use a large, unmounted paper support to produce a piece of work using an electric hand-drill as the means of applying paint. It was a puzzle for a structural engineer – but with perseverance and imagination I managed to work it out.  

Experimenting with ideas often presents an opportunity to pursue multiple pathways. However, I find that being enthused with a concept helped communicate ideas. Having experimented with several mediums, methods and techniques during Studio Practice, I now have an understanding how these could be applied. However, applying these to be unique and innovative is not a constant in my thought process. That said, desired outputs had unexpectedly led to being inventive such as using an electric drill fitted with different painting tools.  

The parallel project provided the footing to expand my evolving visual ‘voice’, both in terms of an affinity with materials, ways of working and the subject matter. That said, it is important not to discard new ideas or concepts at this juncture.

Context:

Working from home provided the time to reflect on all aspects of my practice and the course criteria.  Tutorial feedback reflected that my depth of questioning at the end of an exercise should be expanded to articulate what elements of an exercise/outcome might be taken forward into the next exercise, why and how? Whilst I don’t disagree, I had tried to analysis and articulate my emerging style and voice at the end of each assignment, to synthesise elements that have been explored and how these might be included or adapted for my studio practice.

Discovering and connecting with the work of new artists and artworks has inevitably influenced my own work. In addition, I felt that the use of personal objects, to observe and record and explore space (Part 2),and working with props (Part 3) and the pieces produced during assignments 4 and 5 have shaped my emerging style and practice and draft artist statement.

The Critical Review derived from an interest I have with Absence of Presence and how something that is personal could evoke memories and emotions of a wider  audience.  Researching three artists who approach this subject from different perspectives I was able to reflect upon my own practice.