Category Archives: UPM Tutor review and my response + Final thoughts for course.

UPM Tutor reports and response

Tutor report

Student name

Megan Cheetham

Student number 

514266

Course/Module

Understanding Painting Media P1

Assignment number 

1

Tutorial type

written

Overall Comments

A good hand in Megan that shows your engagement with the medium and subjects of your interests.

It is exciting to see the passion you have for portraits and this is an area where you can really pursue some more investigation.

Assessment potential (after Assignment 1)

You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements.

Feedback on assignment

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

You can obviously draw well and this is helping with the painting, but there is complacency visible in the work, also apparent in the sketchbook.

What I mean by this is that you have some very nice investigation in your sketchbook (for instance) that don’t go far enough- this means that what you are finding out may be limited.

Take for instance Annie Kevans- the initial sketch and photograph are good, but to really capture the palette as a true investigation, will need more variations and experiments so as to gain the banal qualities that she utilizes.

So when you choose a particular artist that you have access to- in terms of seeing the work in real life (best) or as an image in a book/online, try to understand her/his palette, perhaps make a palette breakdown in your sketchbook not aiming to paint a picture but a rigorous investigation of colour. This will help you to understand your own palette and preferences.

Overall this comment about delving deeper, making more than one variation and trying things out/experimenting is going to be critical to your advancement – it is a natural way for you to work, as you have great energy and this comes through.

In one sense this experimentation is really less about making a successful ‘picture’ and more about pushing your understanding of painting as a subject per se. Then you can bring this into your strong imagery.

For instance the strength of the large portraits on cartridge valuable in the sense that you can work with this now so as to ‘loosen’ the overall- through experimentation and understanding the medium  (what it does) more fully- this is starting to happen in the red lady, but at the moment it looks careful and mediated- so a little ‘stiff’.  Perhaps a change of width of brush may be useful here?

The surface of these works is good, there are some lovely passages such as where the neck of the red lady where it  almost loses its structure, or the beard of the blue man. (influences of Doig in both) There is much here for you to work with, which is great at this stage, and it is clear to see your commitment to the portrait as a subject.

There is a tendency to want to paint in a mode that is caught between something realistic/representational and something more graphic (when I look at the boats for instance), so that the intention of the painting seems alittle confused- but this will come with time, application ad research. There is some good use of colour, mark making and drawing clearly visible.

Try to work from life as much as possible so that your paintings attain a life force and grace from the act of observing in real life, rather than working from a photograph. Again vary the brush, and use the mark making to help you to convey the sense that you want to communicate.

The size and scale of the works is interesting and vigorous- particularly when you are cropping into the portrait, and leaving background areas as in the black and white composition. And although this portrait is less ‘finished’ it is more evocative and atmospheric than the colour ones- this is partly due to the looseness of the paint and this is something that you will develop hopefully as you continue, as can your decisions about formats, series, and groupings of works.

If you take the final image in the sketchbook, it would have been great to see the process from a-b- why did you make those decisions and what were the visual stages to this work…more explicit please.

Reflection is useful for this- and you can develop your reflective writing further- in your blog you make associations and links that show good insights, but you need to articulate this more- take for instance the final piece of the many drawings of your children- this is exciting and the work of Denis Castellas is great for illuminating these concerns, but you need to say more about the correlations and insights that you are making.

Great to see your arrangement of these works and the input that you working with.

Because of your growing skill, be prepared to take more risks within the work/assignments, view them as a starting point and extend yourself. My belief is that this will help you enormously to both enjoy the work and to really push yourself.

You could look at the self portrait as well as a subject- perhaps the work of Frida Khalo might be useful to look at in this regard.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

You can extend yourself within the pages of your sketchbook,

really investigate your materials and enjoy them and don’t worry about what it looks like on the page, i.e. if it is tidy enough. You need to experiment more at this stage. Make testers, colour palette studies, tonal ranges, sketches, timed sketches and so on. Invest time in your sketchbook. Look at other sketchbooks on-line, there are some on the OCA site of other students work, but also look at sketchbooks of professional artists.

Learning Logs or Blogs/Critical essays

Context

To help you to get started in developing your reflections on the works of other artists…

There are four main component parts to thinking about and discussing a work of art. We need to think about content, form, process and energy.

Content:

What is happening within the work?

What is the subject matter? Does the subject matter suggest a deeper meaning? Is it direct observation, remembered, invented or imagined?

Is it realistic, deliberately exaggerated, distorted or abstracted?

Describe the content in detail.

Describe the Size/Form/Placement (part of a series, particular installation arrangements etc)  When was it made?

Form: Is it 2d or 3d? How have the basic elements been used in the work, such as line, tone or materials? Is there a colour palette? If so can you work out why and how it is operating? Is it subtle, vivacious? What appears to be the artists’ intentions? Think about, series, lines, rhythm, texture, is it shiny or matt?

Process: What is the work made out of?

What media and processes has the artist used? Why might the artist have used these materials? Have you discovered any supporting studies/preparatory work? If so, how does it inform the work? What other skills may the artist have needed to create the work?

Energy: What is happening outside of the work? How does the work affect the surrounding space? Is there an atmosphere created? Does it remind you or evoke of a feeling/time of something else/another art form?

Why do you think this work may have been produced? Is there a political/social context apparent in the work?

Was the work commissioned?

What is your reflective opinion of the work (given the above investigation) how does it relate to your own work?

Suggested reading/viewing

Context

I would advise you to make a very considered study of the work of Gerhard Richter, a good starting point is his website http://www.gerhard-richter.com/

but where possible aim to see the work in the flesh so to speak. There is much written about him and many catalogues and texts- a major retrospective was also held at the Tate Modern in 2012 titled “Panorama’.

Really look at the surface of his paintings.

Look at the BP awards for portraits- a good survey of portraits now.

Pointers for the next assignment

Keep working as you are- increase the experimental stage- and aim to develop the writing.

Tutor name

Michele Whiting

Date

9th October 2017

Next assignment due

10th December 2017

 

I found the sketchbook work difficult to get into in this course, the exercises where constant and prescriptive, most scrap work was testing paint and moving on, it took a while to sort it out and this process has benefited me greatly.

Gerhard Richter was a good call, although it took till right at the end of the course to see some of his paintings up close due to the gallery in Southampton which was supposed to be hosting his work relocating. At the time I visited the Tate Modern, they only had some of his printed stripes work on show. When I finally got there, The Hansard put on a well curated show, still a bit lacking in paintings over photos.

Formative feedback

Student name       

Megan Cheetham

Student number                    

514266

Course/Unit           

Painting 2 understanding painting media

Assignment number           

2

Type of tutorial

(written from blog)

Overall Comments

Try to build up your sketchbook as a place of experimentation for sketches, palette try outs, recipes and so on. Further increase the tools that you may work with, try them out in your sketchbook. Look further at the works of other artists particularly look for the brush marks and also for the range of the colour palettes used.

  • Try to consider the subject matter as a place to start from, so that it doesn’t inhibit you, but rather is merely the starting point.

It would be useful to have a video tutorial if possible at the next assignment and if you can post a selection of the work, so that I can see the material investigations in more detail.

Assignment 2

I understand your aim is to go for the Painting/Fine Art/Drawing* Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment.  In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

Feedback on assignment

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

Within the images that are on your blog, there are some very lively works that show that you are observing and working with your observations to construct your compositions. The Glass Nail varnish bottles (colourful and vibrant) being an example of your thinking through aspects of what is possible in the construction of a drawing/painting, and also the social constructs behind your choices. It would be good for you to consider aesthetics and so I have noted some reading for you below.

As you mention, the idea of curating the objects is uppermost and you have really tried to achieve this, noting the similarities with architecture in the nail varnish bottes. The black and white rendering of the image, is confusing visually, and you have noted this. What could be a good idea in this sort of situation, it to take a black paint/ink (in this case, but it could be another colour in a different scenario) and a wide brush and begin to paint out areas of white- in this way you will note where improvements can be made through focal areas coming into view. This is a bit radical, but it can be a good method to rescue a work, so why not have a go and see if it can make a difference, because there is some strong mark making in here, notably in the descriptions of reflections etc that can be made more of, rather than just lose the whole piece. If you have this sort of insight, see if you can act on it and try to do something about it.

The sketch (pen and ink) of the staircase at Arundells, is a good objective drawing that describes the space and scope of the staircase- there is a real sense of vertiginous-ness to the stairs and you have aimed to gain details in the walls and so on. A little less convincing is the horse statue and this is mainly because of the moulding of the form. Perhaps you could work back into this drawing with some more fluid marks to help the form- considering the light source and thinking about making distinctions in the picture plane between the background (trees through window) and object itself.

Some more preliminary paint sketches would help you think through some of these issues before you commit to the larger work, so don’t be afraid to take that time.

  • When you are documenting the work, aim to make more images of the process as it builds up, so that you can look back and see when to stop painting/drawing- it is always difficult, and I suspect that there is room for some investigation of this, aiming to stop painting before you might think it is necessary to. It is a bit like poetry and sometimes less is more.
  • Aim to make more material experiments with the inks/paints and the tools that you are using to apply them. Carefully consider different types of tool/brush sizes and so on, so that you become more fluent with your toolbox. Work with more than 1 at a time and see what affect this will have on the overall paining.
  • Try using some un-stretched canvas or cotton duck to begin painting with a broader brush, allowing your enjoyment of colour to come to the fore- what would happen if you began to abstract the nail varnish bottles for example so that they merely become the starting point for the end piece? In this way, even the most mundane subject matter can be transformed and it can become an investigation of colour and form alone, have a look at some of the abstract expressionists such as Helen Frankenthaler for instance or Joan Mitchel for more gestural and rhythmic marks.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

It would be useful to see more of your sketchbook work and experiments, and so at the next hand in it seems essential for you to post the work.

  • Choose a particular artist that you have access to in terms of seeing the work in real life and try to understand her/his palette, make a palette breakdown in your sketchbook not aiming to paint a picture but a rigorous investigation of colour. This will help you to understand your own choice of palette and preferences.  In looking at the works of other artists it also helps us to try out ways of working in order to develop our visual language.
  • You can extend yourself within the pages of your sketchbook, with quick studies, try- outs and experimentation. You must use your sketchbook as a place of enquiry. Don’t worry about a tidy outcome, think of the exploration more. Overall, there is genuine enquiry going on, so keep it up, commit fully and well done.

Well done on this assignment.

Research

Context, reflective thinking, critical thinking, analysis

Really examine works in detail, make notes, think about the works in relation to what you are trying to achieve in a practical sense.

.

I have included here a guide to help you in this respect, you can use it to help your contextual study in the research log.

A guide to thinking through works of art

There are four main component parts to thinking about and discussing a work of art. We need to think about content, form, process and energy.

Content:

What is happening within the work?

What is the subject matter? Does the subject matter suggest a deeper meaning? Is it direct observation, remembered, invented or imagined?

Is it realistic, deliberately exaggerated, distorted or abstracted?

Describe the content in detail.

Describe the Size/Form/Placement (part of a series, particular installation arrangements etc)  When was it made?

Form: Is it 2d or 3d? How have the basic elements been used in the work, such as line, tone or materials? Is there a colour palette? If so can you work out why and how it is operating? Is it subtle, vivacious? What appears to be the artists’ intentions? Think about, series, lines, rhythm, texture, is it shiny or matt?

Process: What is the work made out of?

What media and processes has the artist used? Why might the artist have used these materials? Have you discovered any supporting studies/preparatory work? If so, how does it inform the work? What other skills may the artist have needed to create the work?

Energy: What is happening outside of the work? How does the work affect the surrounding space? Is there an atmosphere created? Does it remind you or evoke of a feeling/time of something else/another art form?

Why do you think this work may have been produced? Is there a political/social context apparent in the work?

Was the work commissioned?

What is your reflective opinion of the work (given the above investigation) how does it relate to your own work?

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

See above… aim to extend the context of what you are doing, through encouraging more critical reflection on the works of other artists. Aim for artists of considerable merit and provenance, so that you are assured of their value to your studies.

Suggested reading/viewing

Context

Aesthetics by Charles Taliaferro

Ways of Seeing John Berger.

Works of Helen Frankenthaler

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Make more testers and experiments and document the process as you develop.

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Well done, I look forward to your next assignment.

Strengths

Areas for development

Observation

Mark making

Colour

Material experimentation

Contextual awareness

Tutor name

Michele Whiting

Date

25th April 2018

Next assignment due

TBC via email-

 

All 3 books read in part 3 Development of sketchbook work and reviewing ongoing work..

 

Formative feedback

Student name       

Megan Cheetham

Student number                    

Course/Unit           

UPM 1

Assignment number           

3

Type of tutorial

video

Overall Comments

This assignment doesn’t feel as well developed as some of your other work, and in discussion we spoke about how disconnected you felt to the prescriptive nature of this part of the course. Having said that you did have a good go at it, and in the process, have found out some techniques that you may or may not take forward.

My advice is to go back over the assignment  piece in your own time, in order to enrich what you have already achieved, you can do this through reworking or through beginning again (which is probably the preferred option, as you have already achieved this version). I will be happy to see the work at the next hand in or via email at another time but before assessment.

The following bullet points are a summation of our discussion.

Feedback on assignment

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

  • We discussed the sensitivity of the mark and how we can use this to evoke an emotion/connection, this is an area that the monoprint and painting project can begin to show us, if we experiment and evolve our methods to a richer degree.
  • This section of the course didn’t reap enough out of the prescribed exercises for reasons described above.
  • Relook at the assignment, the aesthetic of this assignment feels less connected to the subject than it could be when we think about the work of Annie Kevans/Marlene Dumas et al. It is this chord of the human condition that is described through the painted surface. If you think about the politic in the series called ‘Boys” of male dictators as babies- the politic is within the work and acted out empathetically through the process of painting.Aim to have another go at this, and perhaps try to paint the monoprint surface quite quickly, to see if you can free the overall up- so that it feels less fixed.
  • The notion of trial and error is missing in this assignment- and it is important in investing time in the mono-print- there is a sense of being tidy here and less experimentation.
  • Consider the tonal values of your monochrome so that you work with the full range of values.
  • Consider the background treatment in this tri-part work.
  • We discussed changing brush sizes and using them to really push at the painting surface to describe the subject/object and this will help the fluidity of the mark as well.
  • We discussed drawing, and continuing to draw frequently, so that the under-drawing of the painting is the most secure that it can be.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

We spoke about the nature of your sketchbooks, and the need to experiment more.

The Atelier book will help you to explore the painterly aspects of making your testers/experiments.

  • Aim to explore the subject through paint. Make as many variations as you can, so that you understand the nature of the painted surface. Try out painting quickly, brush strokes, the viscosity of the paint. Colour mixing. This can all go in your sketchbook/pages.

Research

Context, reflective thinking, critical thinking, analysis

The personal reflection is clearly described, now try to make connections and correlations with a more critical approach. Use the work of other artists, and the critics who have written about them to inform your personal view and also your ‘looking’.

Don’t forget that your primary research is the doing of your work, so make this as rich and experimental as possible, so that you gain material knowledge.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

See above comment

Document your process in more stages, so that you can see the progression of the work. This will help you to know when to stop- when there is enough visual information within the composition- this is a general comment.

  • Aim to compile a bibliography- annotated preferably, as we spoke about.

Suggested reading/viewing

Context

You have enough reading on the go at the moment.

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Take some time to revisit this assignment as suggested.

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Well done, I look forward to your next assignment.

Strengths

Areas for development

concpetualisation

Tonality within use of monchrome

Personal reflection

Critical reflection as noted above

Continue to draw a lot

Experiment more

Tutor name

Michele Whiting

Date

3rd May 2018

Next assignment due

June 18th 2018

I accepted this critique, and reworked the whole assignment, revised text is within the learning log post. I also took this information to heart for the next part of the course, which helped fill the sketchbook well and inform assignment 4.

Formative feedback

Student name       

Megan Cheetham

Student number                    

514266

Course/Unit           

UPM 1

Assignment number           

4

Type of tutorial

written

Overall Comments

You have worked hard to take my previous advice on board and have extended your working methods. Keep this energy going now and enjoy the process, as you are beginning to build your toolbox of methods that you can bring into your painting practice. Well done.

Feedback on assignment

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

In this feedback I will pick up on particular aspects so that you can continue to build towards a richer painting practice.

The round painting or tondo.

This series of paintings is indicative of the work that you are putting into understanding how painting can work and be in the 21st Centuary. Your insights are growing and to just pick up one by way of example- the aspect that you have found of leaving questions in the work, which was in relationship to your encounter with Helen Frankenthal’s work. The staining was good in this work and there is more of a purity to the overall image- this is difficult to quantify but when you reflect back across other works you might be able to see what I mean. It happens again when you use the Liquitex heavy bodied brush strokes with the staining as in the green example in your sketchbook. This would be good applied to subject matter as you have begun to do in the box like structure in the tondo. It is also apparent in painting no 3 in the light green gestural mark on the tondo.

The installation of the Tondo is good and I am interested in why you put the work on a mounted black card? It might look better without the black rectangle- especially in relation to the other round objects that become part of the expanded field of the work. By this I mean how aspects of the work move out into space. You could look at www.tate.org.uk/visit/tate-modern/display/materials-and-objects/expanded-painting   as a starting point into considering painting in the expanded field. Also look at artist  David Ben White  as well.

This subject is a rich area for you to think about and it is something that you have done intuitively in your installation image of the tondo, which is exciting. The field is rooted in the histories of painting but works to un-conventualise it through installation/ media and so on, that pushes painting to a more radical outcome that sometimes teeters on the brink of collapse if pushed to the end degree. Iain Kiaer is also an interesting artist to investigate who works in this field- between painting and architectural spaces.


“To see something as art,” the philosopher Arthur C Danto has written, “requires something the eye cannot descry – an atmosphere of artistic theory, a knowledge of the history of art: an art world.”

Also, it is good that you are beginning to use the cropping of an image to create more powerful paintings such as the lucky cat. You can see that when you cropped into it, it became more interesting than when you see it in total.  Why might this be?

On the thinner paint have a look at Marlene Dumas and Annie Kevans – look at the brush  strokes specifically within the painting. You are enjoying working with the thinner approach, so really go for it and have courage!

In terms of colour- why not have a look at Gillian Ayers (above and below) her vibrancy of colour is fantastic, and there are also some highly gestural paintings/parts of paintings to look at in terms of a forensic examination of palette and brush stroke.

There are some great interviews with her online as well. https://www.youtube.com/watch?v=XHKH9SORxio

The colour work that you are achieving is beginning to pay off, and you should continue with this, aim to consider the vibrancy of colour, one colour next to another, the thickness and thinness (mentioned before)  and the gestural. Look at the way the green and pink sit side by side (above) and look again at the surface of the pink. It is not as we assume it to be. These assumptions can lead us into making some generalisations and we need to be careful about this, so that we fully understand the impact of colour- so when you look at a surface, really investigate it to see the underpainting- and then you can work out how the vibrancy has been achieved. It can be really exciting to examine the works, so when you go to a gallery for a primary research visit, aim to spend time examining the layers, paint values and position of the paint on the canvas.

Your question: Should the title inform the viewer of the picture contents then?

This question is a thorny one, and artists use them in different ways to provoke, question or add to the visual story within the work. Look at Howard Hodgkin for example and his titles, it is conceivable to oscillate between glimmers of understanding and confusion when looking at the outputs/paintings in relation to his titles- but it was his view and through his words he directs the viewer, puzzles the viewer, confounds the viewer.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Research

Context, reflective thinking, critical thinking, analysis

Your reflection is improving and you are building on your research and developing your insights. Try to listen to these and follow your lines of enquiry to the fullest you can. For instance, picking up on this aspect (below) from your reading of John Berger- the fact that you see value in this is useful, but what might it mean in relation to what you are interested in? How can this be beneficial to your developing practice?

5. the value of the oil painting as showing the ownership of the contents over good art transcending this to just show the human condition.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

See above comment

Suggested reading/viewing

Context

Great that you have read Aesthetics, it will be a good grounding for you as you progess. Your writing is clear and your reflection is good. Sometimes it would be useful for you to expand on an idea, so that you can really fully reflect. Why is this so? What does it mean? What do I do with this knowledge now- how will it influence me?

Pointers for the next assignment

  • Reflect on this feedback in your learning log.
  • Take some time to revisit elements of this assignment as suggested so as to expand on what you have found out. Well done.

Please inform me of how you would like your feedback for the next assignment.   Written or video/audio

Well done, I look forward to your next assignment.

Strengths

Areas for development

concpetualisation

Tonality within use of monchrome

Personal reflection

Critical reflection as noted above

Continue to draw a lot

Experiment  and build on your material knowledge through this.

Tutor name

Michele Whiting

Date

30th July 2018

Next assignment due

TBC via email

 

We discussed mounting the tondo in hangout for part 5, and the decision to send it unmounted is based on that conversation with my tutor.

 

Formative feedback

Student name       

Megan Cheetham

Student number                    

514266

Course/Unit           

UPM 1

Assignment number           

5

Type of tutorial

Video

Overall Comments

Continue to work towards developing your methods, as we have discussed, and use your insights to guide you, in a sense this is having the confidence to make adjustments as you are developing the work. The process photographs will help you to ‘see’ and to enable decision making in the development i.e. reflecting in the action of painting.

You have used a place that is very familiar to work with in this assignment and it is good that you are taking an explorative approach to something so familiar- sometimes when we do this (as artists) we begin to comprehend it as unfamiliar through the very act of looking and making. And you are beginning to experience this through the making of the paintings and drawings, and the combinations of both. Keep pushing at this and developing the work as we have spoken about.

Having pushed ahead (confidently) with this assignment, take some time now to make adjustments, improvements and consider the depth and scope of the work. Look back over past comments and aim to apply them as you develop the pieces.

Well done.

Feedback on assignment

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

In this feedback I will pick up on particular aspects so that you can continue to build towards a richer painting practice.

  • In the painting of the handrails- we discussed adjustments to the rails and also the more successful parts of the painting. Walter Sickert (the light and darkness) was talked about.
  • We discussed scale and how a larger scale suits your physicality, but there are problems of where to make this sort of work and also the cost involved at present. It would be good to pursue scale and size as you go forwards however, and maybe you could start towards resolving some space in your studio as we discussed.
  • We discussed supports (what the work is made on) and ways that you could take this forward, working on cotton duck. Canvas, linen and so on in the future. If you had an old sheet you could paint the abstracted painting with a floor brush and kids paint, to see what might happen?
  • You could consider making the pigment out of the very place? It need not be archival, but purely for the experiment- and there are many examples in paintings rich history.
  • In a smaller ways, you could work with more foliage and see how scale can be used here- both very small and much larger than you are using at the moment. How does this affect the collation of the works together?
  • There are ideas in this work of portals, a richer meaning developing, and this needs some consideration, you could think about how the visual depiction of this space/place can be further narrated through the painting to convey relationship with the environment further.

Installation of the Tondo (4)  and of these works for Assignment 5  is interesting and we have spoken about how it is useful for you to record, work with and develop your ideas through this.  Claire Bishop’s text Installation Art and Critical History, is a useful starting point- not specific to painting but deals with complexities of space and place.

Using photography as starting points is useful for any artist, but also developing the work through in situ drawings is vital, as this gives us depth and understanding of space. The work that you make whilst you are in that situation has a lot to do with proximity to things and we spoke about this. So, consider the micro, messo and macroscopic aspects that you are working with and enhance them through more drawings and paintings in situ in that environment. Utilise your ‘working wall’ of collated works as you are and aim to develop this along with the critical underpinning.

  • We spoke about adjustments to the works and discussed ways forwards for them, I will be happy to see them via email/blog
  • Don’t lose sight of the works that are done on papers of varying types and qualities, think how you can handle this for exhibition/assessment and think about ways that you can show what your intentions are, either by photographing them or mapping them in some way.

Your attention to the processes that you are using are good such as considering brush size, working across papers, thinking through viscosity of paint and so on. So, continue to build on this through experimentation and note taking, so that you build your toolbox.

We discussed how things should be mounted for assessment, and the tondo problem of how to cut it out. I advised that you might be better off not cutting it out but leaving it as is. Also we discussed some paper works that are better left as are rather than stiffly mounted as this will affect the material quality of the work. It is important that you note how you think it should be, clearly.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

  • We discussed the loose sketches and how you can put these in a folder for  marked sketchbook for assessment- this will be fine as long as it is clearly indicated.

Research

Context, reflective thinking, critical thinking, analysis

From your last feedback: Your reflection is improving and you are building on your research and developing your insights. Try to listen to these and follow your lines of enquiry to the fullest you can. Think about how what you are reading and looking at is informing your practice and try to write about this aspect in more depth.

Look at the assessment criteria and reflect on it in relation to what you have achieved- write some notes on this in your learning log, it is very useful at this stage.

Go back and enrich your research where you feel you need to- use the OCA digital library resource to help you, if you have problems accessing it please speak to student services.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

  • We discussed reducing the descriptive language in the 500 word essay (it is very tight) and becoming more specific. I will happily have another look at this when you are ready.

Suggested reading/viewing

Context

From last feedback. Sometimes it would be useful for you to expand on an idea, so that you can really fully reflect. Why is this so? What does it mean? What do I do with this knowledge now- how will it influence me? Keep developing your writing and bring in the words and thoughts/ideas of others (artists, curators, theorists) to help you to develop your research.

Pointers for the next assignment/assessment

  • Reflect on this feedback in your learning log and any adjustments that you have made
  • Take some time to revisit elements of this assignment as suggested so as to expand on what you have found out. Well done.

It has been a pleasure tutoring you on this course and I wish you well in your future studies.

Tutor name

Michele Whiting

Date

August 16th 2018

Next assignment due

n/a

In terms of adjusting the assignment pieces, I dealt with the handrail as discussed, looked at adjusting the night-time painting (both written up in the assignment post as revisions) but felt that adding more plant pictures was a bit after the horse has bolted. I’m also happy with the curation I achieved in the hall at the school. the addition of adequate framing for the 3 pencil handrails and the 2 oil sketch plants or mounting the bigger pictures on deep edge board is the only real difference I would make at this time. The book recommendation is in the post and I am trying to get hold of more stretcher bars so I can paints on canvas with more size options, I’ve moved the studio around so the larger MDF drawing boards (1msq and 1X1.5m)are easily accessible to the easel without screwing up my back.

We discussed what to send for formal assessment and how to organise the rest, so I have created a card folder and filled it with all the loose paint work as a giant sketchbook that covers the portraits I’ve created throughout this course. 

Overall, this course has given me greater confidence in my handling of paint, from both palette to surface, I use more brushes per picture which gives greater interest to my brushstrokes. 

I also accept a picture can be complete with less information which can create ambiguity asking more questions of the viewer for them to access the picture.

My sketchbook work has become stronger even if some of the pages are a2-ish and my reflection on my work is becoming more informed.

3 words to sum up me as an artist? 2 are easy.

Records

Energy 

1 not so.

Fluid?

Adaptable?

 

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