I have been involved in two collaborative projects recently.
A fellow OCA student, Angela Johnson had the brilliant idea to produce a college fanzine. The first issue’s theme was ‘Absence’, which was a perfect fit for me. I decided to produce a digital collage using photographs of the prints produced during part three of the course.
I wrote a short article based on the research and reading I have been doing on this course. My copy is below.
I found the process of combining my images with accompanying writing to be very enjoyable. I have also contributed to the second issue. The theme is ‘Change’ and will be out and available from the website soon.
Earlier in the year, I produced 3 square drawings as part of a group OCA project. I wrote about it on this blog in March.
The results of the group images are below. The first image is Dorethea Lange’s “Migrant Mother”. The second is Botticelli’s “Birth of Venus”. These pieces work well as a whole, with a variety of media and styles creating interest. I feel it is really successful and I am pleased that I got involved.
Joanne Mulvihull-Allen, Course Support Advisor at OCA, has organised for these to be exhibited, which she is currently putting together.
These are the questions that I asked my tutor relating to part 3 of the course: Continue reading
Further to my tutor’s feedback from last assignment she recommended I put together a statement of intent for my practice.
Initially I read a number of essays from the book my tutor recommended: Harrison,C & Wood, P(eds.) Art In Theory: 1900-2000. An anthology of changing ideas. Oxford: Blackwell. Continue reading
I put my name down to participate in a collaborative drawing project with the OCA earlier this year. The brief was to copy 3 images into smallish squares 10x10cm in whichever drawing medium you choose, but with the proviso of sticking to monochrome.
Here are my efforts:
Gouache and pencil
I actually enjoyed the process of gridding up the photo and copying it. At first I struggled with the patience required for the activity but the process soon became very meditative. I found it difficult to pay attention to detail, particularly when working at this small scale, as my drawing style tends to be much looser and gestural but it was an interesting experience. The fact that I did not know what I was drawing made me pay close attention to looking at the lines, shapes, tones, patterns etc. rather than making assumptions at what I was drawing which was a very useful process.
The final results from all students’ contributions will be communicated out in the next month or so when everyone has had time to complete them. I look forward to finding out what I was actually drawing.
Generally positive with a few issues with specific prints but I am just focusing on the general areas that need improvement here.
- Work lacks cohesiveness – recommend I complete a ‘statement of intent before next assignment to clarify a theme to my practice.
- Stick to the instructions within the course materials in regards to numbers of prints submitted.
- Ensure the borders are even all the way around and either cut with knife or deckled – not a mix.
- Print on fine paper to get shiny oil ink effect.
In regard to improving my contextual work she recommended I read the following book:
Harrison,C & Wood, P(eds.) Art In Theory: 1900-2000. An anthology of changing ideas. Oxford: Blackwell. Luckily this is available from the local library so I will request it in.
The books I have read for this part of the course are as follows: Continue reading
The following gallery shows pages from my sketchbook from Part one of the course: