Archive for May 15th, 2016

Weekly roundup 15 May 2016

Last week’s critical path (8-May-2016) took some unexpected turns. My lower back decided it needed care, attention and rest. The back is much better, but the cost was…

I don’t have a week-long class with Ruth Hadlow to report 😦 . I did a mind-opening weekend class with Ruth earlier this year (25-Feb-2016) and was really looking forward to the luxury and stimulation of a five day class. Early in the week the back said “no”, and later in the week I realised that rather than some loose ends I had a mountain of work to finish Mixed Media for Textiles, all at back-slowing pace.

A smaller “didn’t happen” was the final wrap-up of the paper yarn project.

No exhibition viewing.

I did get to Michael Hill’s lecture on the Gibbs Farm collection. Follow the link – amazing place with amazing sculptures. The lecture was amazing too. I have lots of scribbled notes to decipher, I felt I was seeing things differently, learning about new considerations. There were proportions in landscape, “site specific” – the work shaped in reference to the land or the land to the work?, counterpoint, ephemeral sculptures, the sky as ground (canvas?), scale and ratio, animating the landscape, how a work could be a complete descriptor of the wind… One general comment was that works have to be developed and tested in series. If an artist produces a lot of series of 1, you get a lot of sloppy dishes.

Looking up Michael Hill later I came across his exhibition essay Harrie Fasher: Drawing in Space (at Hill’s description of Fasher exploring “the reverse effects of negative spaces: instead of being unlocked and agile, they are trapped and sluggish.” The work he was discussing looks … I don’t want to write “amazing” again so I’ll just be lost for words. I also like his comments about Fasher’s need to make with her hands, slowing down her engagement with the world. Some textile metaphors too.

The MMT mountain is almost conquered. My submission will be in the post Thursday (paid work intervenes).

The new 1&20 sketching project with Claire is underway. More next week (that promise is beginning to get a bit old).

Reading about Antony Gormley and interested in his comments about what his work is for or about (or other misdirected question). “This isn’t about illustrating either the look of a body or a particular emotion; it’s to give rise to thoughts and feelings that wouldn’t otherwise exist.” Another comment about sculpture helping us slow down. Sayej, N. (2016) “Sculptor Antony Gormley: ‘the selfie is charming’ but it’s a modern paradox” In The Guardian [online]

And what about this regarding his works for the Landmark trust: “catalysts for retrospection.” and “It’s simply about people looking at something and it changing the way they feel.” Ellis-Petersen, H. (2015) “Antony Gormley: ‘I am beginning to learn how to make sculpture'” In The Guardian [online]


Mixed Media for Textiles – Submission for Assessment

Electronic submission:

  • Learning log.
  • Video documentation of final work. In my OCA personal assessment folder, Final Assignments sub-folder.
  • Copies of all tutor reports. In my OCA personal assessment folder, Tutor Reports sub-folder.
  • Physical submission:

    submission in box

    submission in box

    6 handbound books
    1 folder
    6 boxes
    1 cardboard wrapped object

    Ready for packing

    Ready for packing

    My submission for assessment is en route to the UK. In her final formative feedback my tutor expressed an interest in seeing as much actual work as possible. All my assignment submissions have been electronic, via this blog. I have therefore attempted to include as many samples as possible in the package, within the normal constraints of international post.

  • Part 1 book. Link to pdf (for ease of access to referenced blog posts).
    Samples included: p1-25, p1-31, p1-49, p1-55, p1-62, p1-104, p1-114, p1-140, p1-141, p1-142.
  • Part 1 – bag of samples.
    Samples included: p1-1, p1-12, personal extension photo 10.
  • Part 2 book. Link to pdf
    Samples included: p2-2, p2-3, p2-4, p2-9, p2-15, p2-19, p2-21, p2-23, p2-27.
  • Part 2, packed individually: p2-73.
  • Part 3 book. Link to pdf
  • Part 3 – bag of samples
    Samples included: p3-6, p3-10 (adjusted for p3-26, p3-12 (in 2 parts), p3-13, p3-14, p3-32, p3-33 (2 items – duplicated number), plastic sketch of p3-47.
  • Part 3, packed individually: p3-46, p3-47, p3-51.
  • Part 4 book. Link to pdf
    Prints included: p4-8, p4-15, p4-17, p4-22, p4-23, p4-29, p4-34, p4-36, p4-37, p4-45, p4-46, p4-60, p4-70, p4-72, p4-75, p4-76, p4-77, p4-81, p4-85, p4-89, p4-97, p4-104, p4-109, p4-126, p4-128, p4-137, p4-145, p4-146, p4-150, p4-152, p4-160, p4-162, p4-163.
  • Part 5 book. Link to pdf
  • Part 5 sketchbook.
  • Part 5, packed individually: p5-3, p5-4, p5-10, p5-12.
  • Part 5, folder of printed photographs.
    Photos included:
    Trial photographs (4): Samples p5-38 (12 March 2016, black and white), p5-52 (15 March 2016), p5-53 (15 March 2016, watercolour paper), p5-54 (18 March 2016).

    Presentation photographs (6): Most similar to previous samples, but re-cropped and some backgrounds adjusted (to remove gaps and breaks at edges)

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