Collaboration: Edge-zine & OCA Drawing project

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.

edgezine-how-can-you-be-here-but-not-here

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.

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Questions for Tutor: Assignment 4

Questions for Tutor

Specific Assignment

  • I would be really grateful for feedback on the intaglio printed booklet in particular as I have no experience of this at all and am in the dark as to what is good work.
  • I have included 4 extra prints that were printed on cartridge paper – because the paper was slightly drier there are different results – I quite like the atmosphere, possible reflecting the ghostly apparitions of the dead bird shape in them but they could be seen as patchy – I would value your thoughts on this.
  • I chose to use monochrome only for these prints as I felt it added more drama – do you agree with this choice?
  • Do you think the book idea is a good one? Or should I separate the prints out as a selection? My intention is to bind the book with the Japanese binding method – it would be a very thin pamphlet style book do you think this would be O.K.?
  • I quite liked the deckled edge of the paper so went with that – I am wondering whether that would look a bit messy as a book. What do you think – should I trim them instead?

General

  • Do you feel that I am at a standard where I can go in for assessment? I have taken your advice and have decided to push it back to March next year

OCA Collaborative drawing project

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:

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.

 

Tutor Feedback: Part 2

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.

Part One Sketchbooks

The following gallery shows pages from my sketchbook from Part one of the course: