Tutor Feedback: Assignment 5

I was really pleased with my final assignment report and relieved that I have moved in the right direction.

I was initially concerned that my prints are a little different, and not in line with the course requirements. I don’t have access to proper printmaking facilities so have had to make do with what I have, but my tutor felt that this worked for me:

“Even though a little of your experimentation was due to ‘workarounds’ due to health issues/lack of facilities, I thought that your final images were much stronger as a result of your having to think outside the box. As artists we are all problem-solvers and you have been a very good problem-solver in this respect, to your own advantage.”

In retrospect I think she is right. It is unlikely that I would have come up with the idea of producing postcard or photograph-sized images without the use of the small shuttlebug embossing machine that I borrowed from my friend, and this also led to the map idea.

Exercise 13

My tutor commented that the way I presented the final prints needed consideration as the 21st century folder plus the strong writing underneath detracted from the feel that I was trying to convey, which I completely accept. I decided to trim the original “polaroids” down to remove the writing.

In my sketchbook I had played around with presenting them in a leaf from an old photographic album, I made note of my tutor’s comments as she felt it was:

“…an unusual way of presenting them…I rather like this idea after reading WELLS, L. Photography: A Critical Introduction (2007), 3rd ed. London: Routledge. In this book there is a chapter on personal photographs where Liz Wells refers to curators who used to remove specific photographs from historic albums, however they now realize that it is the whole album which is important and relevant particularly in respect of the chronological order and context in which people placed the images (p.130).”

She also said:

“The key is to get the viewer to buy into the distant past (old artifacts/buried treasure/ long forgotten containers) rather than bring him or her to the present day (contemporary folders).”

She recommended that I continue researching Baudrillard, simulacra and also hyperreality; which I have done. I must admit that I found his writing particularly difficult to understand but after about the fifth time of reading things started to make sense. I have added the detail, where appropriate, into my final assessment submission review.

My tutor’s comments and this research led me to purchasing a second hand photograph album from eBay. Luckily some of the pages were blank with no corners adhered to, so I was able to unpick the stitching and mounted my own work in place.

I wanted to make reference to the Emily Dickinson poem I had found an inspiration: “One need not be a chamber to be haunted” so I wrote two lines out with permanent ink and mounted this on the front. I felt the paper was too stark and bright and not in keeping, so I decided to ‘age’ it with coffee. Pouring hot coffee over the paper and leaving it to soak led to the lettering almost being completely obliterated. I was considering writing over this but instead felt it worked well as it was. It gave the work ambiguity and the fading references the disappearing memories and material absence that I had previously alluded to, it also reminded me of Rauschenberg’s “Erased DeKooning” perhaps I am also being haunted by the ghosts of art history?

I asked my friend Jane and other fellow students for feedback about this format of presentation they understood the reference to memories straight away. Jane said it was nostalgic, mysterious and old and added interest to the final work. I feel that the decision to change the presentation, as per my tutor’s recommendations has led to a more successful outcome.

Exercise 14

I was really pleased that my tutor liked my feather gelatin chine colle prints, she said they are:

“subtly showing the delicate and fragmented nature of the person and their memories. “

which is exactly what I intended. I have decided to also include one of these prints into my final submitted works as I feel the process adds something to my portfolio.

Exercise 15

My tutor disagreed with the feedback that I had received on the OCA forum that this work was too illustrative as she said:

“I disagree that some of your work is too literal in nature because your underpinning research goes to a much higher level and is much deeper now “

This was a relief to hear because, particularly when producing figurative work, I find it difficult to know the difference between fine art and illustration.

I received positive comments about my map and postcards although, again, I need to consider the way I present these. I decided that a homemade box would work for this. To create an authentic experience for the viewer, I felt a prisoner of war parcel would be a good idea. I viewed images online, which presented a standard format. I created an image in photoshop and printed it out on A4 brown paper.

I worked out the sizes I needed the box to be in order to comfortably fit the contents and found a site online which gave me a working plan. Luckily my husband used to work in distribution and is good at making boxes so he made this for me over the Xmas holidays. I added the printed design onto the lid and felt tying with string was authentic. I think the ‘performance’ of opening the box and finding the contents inside could add to the meanings- the hyperreality of the work as a whole.

Other comments

My tutor made comment regarding my bibliography, that I need to separate out books / articles etc. but the guidelines from UCA say I shouldn’t do this, so this is something I need to check before submission.

She liked that I had posted my work on the OCA forum for critique and recommended I keep doing this in future courses to get differing perspectives from other students, which is something I am planning to do.

I am pleased that she said that I am beginning to find my voice; this is something I really wanted to get to grips with in this course. I have really enjoyed playing with these objects and bringing them into the 3D plane. It has given me food for thought as to how I can take these ideas forward into my next course. It seems inevitable that absence and memory will form the basis of my personal project and my mind is already ticking over with ideas. I feel quite excited to get going with the next part of my studies.

Tutor Feedback: Assignment 4

Overall good- she was pleased with contextual reading and research. I do feel I am starting to find my feet with this. The critical theory learned during my English lit degree does really help as there is a lot of crossover between the two disciplines but there is still more to learn, especially as things have moved on since 1990s when I was at college.
Use of ephemeral items fits with theme of hauntology and simulcra. She recommended I revisit using a selection of feathers, which I intend to do.

Not clear why I chose the poster- to be honest neither am I. Upon reflection I think I was trying to reference protest posters as a way of justifying the use of text in my work but I agree it doesn’t necessarily fit the theme so well. My tutor has reassured me that I can use text in its own right within an artwork, something I am interested in pursuing.

4 prints on cartridge are seen as patchy. I sent these to her as a contrast to the others in the book- personally I quite liked the atmosphere from the patchiness, but I can now see that they look a bit weak as prints.

She liked my use of monotone but gave advice to be more confident with my choice of colour, something that I need to work on. I realise my issues lie in self doubt and lack of confidence. Going forward I feel I need to try a number of colour options out in my sketchbook then have the courage of my convictions to carry it out without second guessing myself all the time.

My tutor liked the artists’ book. She felt the decked edges and fragile nature of it suited the theme well. She recommended that I interleaf tissue the same size as each page throughout. I know I have sought more reassurances from her here and she gave good advice to ask myself the questions- how does this fit with my own theme? Keep thinking of techniques that connect and through doing this I will find my own answers. This is really useful feedback on how I can become more autonomous in my practice, something that I need to be able to be as I develop into level 2.

The complexities of Japanese stab binding were mentioned and the combination of fine tissue and thick printing paper would make it very difficult. She thought perhaps leaving the clip in place would be ok- I think I will do this because it fits with the ephemeral/ throw away theme anyway.

In regard to the book she also recommended I consider narrative more- thinking in terms of my previous research into Andy Warhol and Marilyn – the fading away. Something that I will look at.

Finally further advice to blend research with own practice as at the moment they are two very distinct separate entities- this should help everything flow together a lot better. This is something that was picked up on in feedback in the painting course. I really want to tackle this and get to grips with as I approach the end of this course. 

Suggested viewing

  • Mark Hearld- I had a look at his work earlier on in the course and can appreciate his images of the natural world.
  • WW1 postcards on display – West Yorkshire print workshop- I had a look at the website my tutor suggested and she was right- I have found this particularly inspirational and relevant. I keep being pulled back to ideas around the archive as well as the ephemeral and there are many links there that I would like to explore further in the remaining exercises. It has made me think about other items that are ephemeral and my mind is whirring with how I can bring this all together in my final pieces.

Final pointers:

Do not feel restricted by nature of assignment brief- push boundaries. – The above exhibition had given me some ideas on how I might do this.

Develop your theme further- a final push to identify your own voice.

Ensure that written theoretical research and notes about concept of brief connect together.

As an attempt to start thinking about the last point I put together this mind map as a starting point.

Tutor feedback – Assignment 3

I was pleased with the comments received from my tutor for assignment 3, it is good to know that I am moving in the right direction. I have focused this post on areas where development is needed:

  • Find more of a narrative to link my subjects together.
  • Be careful when cropping off the top of a portrait
  • Ensure there is enough border around my prints
  • Be careful on colour choice – the green ink on the boat was a bit too bold when considered against the Nan Think about presenting work that all hangs together harmoniously.
  • The misaligned version is interesting and my tutor agreed that it was worth pursuing in future – something that I will do when I return to relief in assignment 5.
  • Also revisit the experimental mark-making test sheet to explore using text and to exploit the tendencies of the lino to crumble and crack when overheated.
  • When come to present the Nan series – mount together with window mounts.
  • No Need to redo statement of intent – just update as and when required.
  • Add images into bibliography and use separate headings for books, articles, websites etc.

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.