This project has been continued from a developed theme and built up knowledge of Transformation in art; exploring the changes within the perspective of art, analyzing the art movement, Conceptualism and how the movement changed the way we value art more - looking beyond its visual appearance and more towards ideas and concepts. This page will be added to weekly and written in the tense of the moment, deciding what I feel about the work so far and reviewing the week. Each week will beginning with an action plan, then the progress and finished with a summary of the week, reviewing it if necessary. I will also be analyzing one to ones and discussions. Other information like Professiaonal pratise and networking will be within posts and other pages such as Foursight Art
Drawing in Space
Practical FMP - Proposal
My final Major project
will be based on exploration of space and association. The constructed idea was
developed from my previous project ‘transformation’, where I investigate the
concept of change in the perspective of art.
I now wish to examine concepts of constructivism, focusing on how
people gain knowledge of the world around them; perceiving shapes, space and
volume. I plan to produce a series of
sculptures experimenting with these notions and processing further into
extending my creative ability and working towards a more advance understanding
of space. I will be researching my own reflective interest of how space is one
of the key elements that makes up sculpture as well as impacting its responses,
development and even the very primary thought of the piece. Space exists within
both 2D and 3D forms and even defines the two, so I plan to experiment with
both.
My primary influence and starting
points will be looking at how space has been used, researching into artists
Robert Morris, Peter Lowe and Dame Barbara Hepworth whom have not only worked
with space within their works but the space around them; considering all
aspects of it. I plan to research and sourcing information from exhibitions at various
galleries with a strong intent to visit Yorkshire sculpture Park. I will also
be referencing books, articles and YouTube clips with relevant information to
develop my knowledge and opinions.
I will encourage my own way of working using my particulate favored media of wood, clay and plaster exploring the phenomenology of sculpture
combine with the ideology of space. With a strong interest, the study will be
influence by both geometry and organic forms as to mature my knowledge and
curiosity towards understanding the bridge between both differential forms. Progressing
on with medians, the use of metal and industrial materials would be of a
beneficial development as to encourage links between the studies of Constructionism.
To make sure my project goes effectively I will manage my days and
costs within a weekly action plan and assess my timekeeping within that. I have
an estimated costs after my previous practices, and perhaps future experiments
which may be explored. As an aid, I will
be attending tutorials to reflect on my work and be given constructive
criticism to point out directions and develop ideas. Giving me the chance to
present my work and reflect, will help me focus on the work at hand. As another
note of record and control over my development, I will also have a progress
diary, recording my process, reflections, thoughts and ideas towards
development.
12th - 16th January, Week One - Artist Research
Action Plan - This week is the start of the FMP, were I will be independently sourcing and developing new ideas for the new project. However it makes sense for me to develop my previous project further, as it still remains an interest - only using and approaching the theme and ideas in a different light to create diversity. At the beginning of every project, influences are the first step so I plan to spend the week researching into artists and philosophies similar to the views and directions I wish to go in. My interests are within 3D, concepts of Space, Geometric forms and metaphysics.
I started my research by exploring the art movement Constructivism which is influenced by the way we think; educational philosophy, aiming my interests of examining how we see concepts and metaphysics. Two particular artists stood out too me within the investigation were Minimalist artist Peter Lowe and Constructionist Robert Morris. Although my intention were to explore Constructivism, I found Minimalist concepts and relations to Geometric shapes to be quite promising in my investigation in understanding the forms.
Sketchbook £5
Peter Lowe
Lowe was apart of 'the Systems Group' founded by Malcolm Hughes and Jeffrey Steele in 1970. The group shaded a creative vision and approach from a vocabulary of basic geometric elements in accordance with some form of pre-determined and often mathematical system. His work appeals to the mind, as well as the eye. His shows fine qualities of precision, clarity of form and rationality of process in their creation.
Lowe's work enforces a sense of an awareness within the viewer as well as experiences our minds eyes, visualizing shapes that are not present. An examples of this is within the above right image where he has used a series of squares within a checked position but altering the position within the center. The center creates the impression of two circles which have been rotated from the original checked position. These impressions are caused by our associations to both the circle and the checked pattern. However, there is no circle within the piece, our mind's eye as informed us that there are lines present that have a relationship to a circle and with the aim of the placement of colour, we have pre-determined that this is not the pieces original form. Lowe's has clearly used the idea of movement to development these associations of shape and fixed positions.
Robert Morris
"Simplicity of shape does not necessarily equate with simplicity of experience"
Morris was one of the central figures of Minimalism setting forth a vision of art with simple geometric shapes combined with his theoretical studies of metaphorical associations and focused on the artwork's interactions with the viewer. He differed from others as he had a diverse range of ethos that surpassed the based theories and practices of Minimalism - developing onward into Process art and Land art. He explored new notions of Chance, temporarily and ephemerality. His minimalist sculptures were; enormous, repeated geometric forms, such as cubes and rectangular beams devoid of figuration, surface, texture, or expressive context. These works force the viewer to consider the arrangement and scale of the form themselves, and how perception shifted as one moved around them. (Philosophy of Minimalism)
As I reviewed his work, I felt it was his awareness of space that amazed me and how he used reflections with mirrors to decisive us. Space informs us of our surrounding but with the use of mirrors our surroundings are reflected, creating this impression that there is another dimension around us. My favorite piece is his four mirror cubes, (image above) and his placement of them being precisely measured to one another, in the surface space of a square. This arrangement creates the impression that there is more than four cubes existing within the room.
Other artists having influential techniques and artistic knowledge our Dame Barbara Hepworth and Anish Kapoor.
19th - 22th January, Week Two - Ideas & Planning
Majdandzic is a painter, poet and autodidact philosopher who I chose to have as merely as a visual reference because of his confinement to 2D however I highly admire his contrast between the controlled block colour and the drip effect, displaying a dramatic and diverse compositions within his work. I felt the visual information within his work relates to my compassion and struggle towards combining control & chance as well as combining organic and geometric elements to seem harmonious with one another.
26th - 29th January, Week Three - More Drawings
2nd - 5th February, Week Four - Experimenting with media
Action Plan - Currently, Robert Morris is the artist that is inspiring me the most because of his work of four mirror cubes. The piece is so successful in deceiving the space around it, creating awareness and caution within the viewer. I too would like to experiment with mirrors after my drawings and perhaps during to see what new compositions I can make. Mirrors our just perfect tools in what I wish to investigate. TARGET - Incorporate mirrors into my work, experiments and start to move into 3D medians.
With an aim to experiment with mirrors, I invested in small mirror tiles 22.5cm x 22.5cm 4Pack from Wilko's - £9 and placed them against my drawing to see what compositions would form. Playing around with mirrors would also inform me of the endless possibilities there is with them. Although, having the right angles in crucial because of the obvious knowledge of reflection - it may reflect something you don't artistic want and so positions and surrounding are significant factors in presentation towards this material.
During the week a proposal was made for us to produce some work to put up in the college. We had to produce a large stage piece from a sheet of plywood them have given us which will be mounted within corridor so health and safety to be considered. Just for this proposal I moved away from 2D productions and referenced to my last project for it was still fresh in the mind. The project also gave me the chance to relax and my targets and aims but softly think about them to encourage direction and ideas.
I chose to experiment with wood stain and plaster at first to see what texture surfaces I could create as well as explore the media's response to one another. I found them quite successful however plaster within designed for the techniques I was using it in and began falling away from the board. the problems were similar to the wood stain as in the past I use it against paper and the effects won't as successful against wood - the stains wouldn't bleed across the board.
This is when I chose to used acrylics, having not much time last to explore because of the proposal's need to have them done quickly. Being a different media meant different effects so I had to work around this and have little intentions for the piece but just play. The piece was inspired by my previous works of gestural abstraction combined with my new profound interest in the bridge between organic and geometric forms.
9th - 12th February, Week Five - Thinking in 3D
Having concerns about the fragility of the plaster in my work, I decide to consult one of the 3D technicians at the college about possible ways to strengthen my work and talk about other works similar to my style of work and media. I asked about other possible medias that could be use in the same way but unfortunately the medias we discussed like clay were just as fragile. I did however explain how my experiments had different strengths in areas depending on surfaces that contained a large amount of string. This fact suggested became the solution, proposing my future structures to consisted of large amounts of string and develop the outcomes further.
Nuala O'Donovan
Noting, O'Donovan's influences of organic forms persuaded me more to work with the association of eggs, encouraging their fragile properties in form and media. Here is an exploration of that compared to the solid geometric form.
I started off the week with a visit to the Whitworth Art Gallery, spending the day not only analyzing the artists work but the exhibition's content and layout to build professional knowledge in conducting my own exhibition in the future... - Review of Whitworth Art Gallery
It was fortunate I was able to invest in professional business cards but may not be able to do so with others without sponsorship's. I decided to processes with this, as we need money to fund the advertising, media and costs of hosting the events.Charlotte Stockley and myself, developed an open letter to give out to sponsors which we would slightly change for each sponsor (changing whom it was addressed to). We sent the letter via email, I sent it to Balfour Beatty and Holiday Inn Express, local organisations and Charlotte sent it to the company Fletchers whom she works for.
Update May, a week before the show - Unfortunately Balfour were unable to fund us and send an email wishing us luck.
Our Indiegogo Profile
We needed other ways of earning money to be guaranteed we would get some. To be sure,I did some research and discovered Indiegogo, a website that promotes projects which people pledge money to if they wish to back the project. It seemed fun and a good way of advising the project.
Later Review, May - The plan fall apart as it required investments into paying people to advertise and the risks weren't worth it.
I continued to use plaster in the same method as my previous work; covering a balloon with plaster mixed with sand. I wanted explore other ways and so invested in some multi minerals of iron, boron, copper, zinc and others stuff which combine was a blue mixture. I repeated the techniques but didn't find it as successful when it came to moulding. It took longer to dry and was unpredictable causes wanting lumps and form to be created. It did however have a earthy texture and subtle pale blue hue which looked aesthetically pleasing against other plaster works.
Action Plan - My aims for this week is to work on from reflecting upon my artist research by; recording my opinions of the work, though processes i may have like interpreting or processing on with an artist's ideology or look further into movements or more artists to gather my resources and contextual research. This is still the idea developing stage so I don't want to restrict myself from possible directions from just developing the first idea i have, I want to least mature the idea first.
This week I continued to analyze and research into contextual artists to gather a larger range of influences. I have always been fascinated by geometric shapes and so I decided to investigate how other artists have used them to see how it could influence my work. I choose to research into circles and triangles because of an particular spiritual fondness towards them and discovered present artists Viktor Majdandzic and Gabriel Orozco.
Majdandzic is a painter, poet and autodidact philosopher who I chose to have as merely as a visual reference because of his confinement to 2D however I highly admire his contrast between the controlled block colour and the drip effect, displaying a dramatic and diverse compositions within his work. I felt the visual information within his work relates to my compassion and struggle towards combining control & chance as well as combining organic and geometric elements to seem harmonious with one another.
At a most interest was my investigation into Gabriel Orozco's series 'Thinking in Circles''. Orozco has a diverse practice of sculpture, photography, painting and video explores the philosophical challenges through random encounters and 3
dimensional relationships. He used everyday objects in the contemporary urban environment to make clear of the sense of the poetry of chance connections and paradox. Similar to my reflection on Majdandzic work and my personal inquires within art, Orozo has explored the geometry and organic matter in the same way, explored the phenomenology of structure through the symbol of the circle. The circle act has a bridge between geometry and organic forms, containing elements within both ends of the spectrum - the perfect shape to investigation my own equines.
Another relating aspect between both of our works is are studies into movement (Project Transformation) based on the principles of the game chess which his has displaced with the sequencing of colour. Referencing the above left image, Orozco has combined squares, circles and rectangles with the correct mathematical properties however through colour limits the use of line, enforcing our association of the shapes to visual them. It is this process of our minds eye that also creates another form of movement within the piece, metaphysical movement - through visualizing the shapes which causes a constant change within composition as we view all around the piece.
Moving on from artist research, I choose to refer to my previous project and develop sculpture drawings with wood varnish. At the start, I just wanted to play with the media and see what develops from them. The techniques I used was quite different from previous work as I wanted to incorporate geometric shapes as I did so I chose to visualize the structure of a tower.
Experimenting further to less control drawings, I developed a mind provoking thought that precise shapes could co-exist within theses gestural forms. It was an way of transforming my work and creating a bridge between these contrasting forms. I started by laying the drawing with tracing paper to dull the colour so the shapes were more dominant compared to the vibrantly of the colour. I then analyzed the piece and was able to see geometric shapes in certain areas which I draw and created new compositions.
Reviewing this with my colleges and tutor, they were amazing I was able to create this transformation and were also able to see the shapes within the composition when using the comparison. It was however mention that my dyslexia may have had a role in the process because of my visual skills. I have been described as able to see shapes more then forms, viewing the world as in shapes. This is some what an advance within the art world, meaning deconstruction of what I see being an second nature of mine. I am very proud of this even though it is seen as a disability.
Action Plan - Well at the moment, I am quite enjoying developing my structure drawings and fell I need to develop them further by encouraging a more constructive appeal into the drawings so that steps made to transform them into 3D works, will be more practical to recreate.
Continuing with the structure drawings, I created more geometric forms and move onto developing them into 3 Dimensional drawings. These 3dimensional drawings give itself the potential to be 3D and creates a visual reference to how it may appear. I did feel like I am creating a new language between the expressive and controlled marks though this transformation, seeing two different languages which correlated with one another - developing a bridge between the two.
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Common shapes were found around different techniques or methods on which the paint was applied to the paper. When I created a plot mark, which had a drip from it, it translated into a circle with a rectangular shape against it. It was the same with splattered marks correlating rectangles. These patterns between the two formed a symbolic relation to the two worlds of geometry and organic forms.
Reflecting on this, I felt I have achieve in so form a link between the two, bring success in my own artistic interpretation towards my investigation.
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Reflecting on this, I felt I have achieve in so form a link between the two, bring success in my own artistic interpretation towards my investigation.
Action Plan - Currently, Robert Morris is the artist that is inspiring me the most because of his work of four mirror cubes. The piece is so successful in deceiving the space around it, creating awareness and caution within the viewer. I too would like to experiment with mirrors after my drawings and perhaps during to see what new compositions I can make. Mirrors our just perfect tools in what I wish to investigate. TARGET - Incorporate mirrors into my work, experiments and start to move into 3D medians.
With an aim to experiment with mirrors, I invested in small mirror tiles 22.5cm x 22.5cm 4Pack from Wilko's - £9 and placed them against my drawing to see what compositions would form. Playing around with mirrors would also inform me of the endless possibilities there is with them. Although, having the right angles in crucial because of the obvious knowledge of reflection - it may reflect something you don't artistic want and so positions and surrounding are significant factors in presentation towards this material.
Mirrors, Wilko's - £9
During the week a proposal was made for us to produce some work to put up in the college. We had to produce a large stage piece from a sheet of plywood them have given us which will be mounted within corridor so health and safety to be considered. Just for this proposal I moved away from 2D productions and referenced to my last project for it was still fresh in the mind. The project also gave me the chance to relax and my targets and aims but softly think about them to encourage direction and ideas.
Untitled, 2015, Wood stain and Acrylic
170cm x 110cm
Action Plan - My aim for this week is to process further from drawings and become more involved with the methods of sculpture and the construction of potential final pieces. At the moment, having no clear direction of what my final outcomes will be (which is the best way for progress, to not limit myself and my creativity forwards developing a range of different pathways) At the moment, I find myself just wanting to experiment and play with media. I do however have a range of ideas and visualize constructions as a response to the project and so my target this week is to record them through drawings; developing further into planning and construction as well as remaining to play and analyzing the properties of media such as plaster.
At first I wanted to question the common description of space and see how it relates to my understanding and how I could interpret it in the sculptor. As i thought about space, I notice I kept thinking about caves, boxes, rooms and reflecting on them being consumed by emptiness. Words like Void and hole started to influence me.
At first I wanted to question the common description of space and see how it relates to my understanding and how I could interpret it in the sculptor. As i thought about space, I notice I kept thinking about caves, boxes, rooms and reflecting on them being consumed by emptiness. Words like Void and hole started to influence me.
Noun
1. a continuous area or expanse which is free, available, or unoccupied.
2. The dimensions of height, depth and width within which all things exist and move.
Verb
1. position (two or more items) at a distance from one another.
Considering 3D media, I knew it was best and more productive to work with what I favoured, so I explored them listing wood, plaster, ceramic and metal (although I haven't do much experimenting with metal). I like to use found objects as a media for my interest in transforming what we see, as well as the concepts they hold. Its all about recycling in my era so it makes sense for me to engage with this and recycle my own work. I began experimenting using my wooden towers from my last project Transformation, turning these metaphysical movement sculptures into another metaphysical piece of space.
Balloons are a great way of exploring space because of the emptiness we know to be within them and easily expanding & deflating, changing the radio of space within it and around. I really want to capture the notions of a balloon as well as voids, so I decided to coat the balloon in plaster to create a solid cast which will create a void when removed - using my wood tower to hold the balloons and be a structure on which the voids will form around.
25 kg of Plaster, ebay - £22.93
The voids looked very organic and remembered me of quartz rocks and their concepts of wonder and interbeauty. They are dull on the outside but on the inside are hollow with beautiful crystals showing a contradiction to the original opinion. Similar in comparison with first opinions, organic and a lot of texture on the outside but once explore relive the soft and circular form. Here is a video in slow motion of the piece transforming from a full form into a void.
During the week I felt like I had 'artist block' and was confused on what direction I should go, concerning myself too much with the end goal of achieving a bridge, because of this it was necessary for me to step back and allow my ideas to breath. I spent the rest of the week drawing ideas and understanding why I had them in mind. The image below I looked at creating a hanging piece exploring organic forms with the impression of an geomatic.
I also started to think about the reflections of mirrors compared to half shapes, using symmetry to make them full again. Using these techniques of half shapes and mirrors would make my work appear like it is flowing, creating the impression of another dimension and therefore encouraging this sense of space. Analyzing my drawing I felt association having a strong influence over them, linking them to objects such as eggs. Eggs and balloons have a most similar form but comparing the two, they differ when considering the space within the form. Balloons are empty while eggs have a poetic notions of life creating a much more depth meaning to the piece. It also adds mystery of the life within it, expressing poeticy my question to the exits and curiosity of space - spiritual and conceptual art.
Half Term...
23th - 26th February, Week Six - Progressing On with thinking of Space
Action Plan - As I am currently looking at what actually is my understanding of space, I wish to develop my theories within my artwork to join the two and answer the contextual questions. Mirrors are a great example of experimenting with space, shown by Robert Morris. My aims are to look at ways mirrors can be used and learn how can it be truly effective. TARGETS are to explore future with media and develop ideas of using mirrors and gain knowledge from them.
Using the mirrors I been previously bought, I started to think about the impression they could create, noting that all impressions are lies - Cubist artist Pablo Picasso’s famous quote “Art is a lie that makes us realise the truth” (Graham-Dioxn: 2008, p. 418). When we look into a mirror, although it informs reality it lies for it is all opposite - left to right becoming right to left. I wanted to look at other ways mirrors do that, exploring further into the properties of mirrors - Colours came to mind.
Colours change the atmosphere in what we see, so to see the world in a different colour would change the way we see the world and reality. Exploring this notion, I brought coloured Acetate to be an overlay on the mirrors. I noticed that not only did the mirror and the surrounding areas reflection's colour change but of course object's reflections. What was blue turned green with a yellow overlay. This is a great tool in deserving, which a lot of artists have achieved through the use of space such as Robert Morris and his four cubes.
Wasn't sure on how to push this concept, I decided to pushed it aside for now and continued exploring voids and holes. I produced two other plaster piece with the balloons but this time wrapped string around it using pva glue to hold it in place. The idea related back to my previous drawings of a circular form made from a continuous line. The sculptor was a lot more successful in structure and strength, as the string added support and the balloon deflated slowly with minimum impact from exploration of air. The reason for this was because of the PVA glue I used to hold the string. The glue coated the balloon and formed a tight layer which when the air was released, resisted to elasticity of the balloon and made the shrinking slower.
One to one with Tutor John - On thursday, I updated my tutor on my investigation, current aims and techniques. I explain to him that I would interested in creating circular forms from the use of line, as I felt it would question the space within the centre of the piece, the distance between the lines of the form and the surrounding space. With great encouragement for my plans he quoted that it reminded him of Physalis fruits (also known as Chinese Lantern fruits) which I should look at for visual references - looking at all the stages of the fruits but particular when the leafs surrounding the berry has decaded.
The fruit blew my mind. I had never seen the fruit before, as it originates in China. The fruit appear to be delicate and did have a close relation to my work. Analyzing the fruit it gave me the idea of using two layers or think about using the idea of layers within my work, creating depth and thought of space. The fruit is a small sphere on the stem and surrounded by leaves forming a lantern shape around it. What's interesting to me about this fruit is that the leaves covering the berry isn't tight around it but has a bit of distance. What was also interesting to me is how delicate it appears from the leaves yet the berry holds a strong geometric spherical form - An contradiction to nature's order as the leaves are there to protect the berry yet the berry seems stronger and the leaves. It has created questions for me and changed my perceptions on nature's soft organic forms. Encouraging these fruits as visual references will aid my investigation.
2nd - 5th March, Week Seven - Associations and Techniques
Action Plan - This week is going to be a busy one, as I not only aiming to progress further with my practical work but hopefully develop my physical portfolio for university interviews. Concerning my practical work, I feel this week I need to achieve work that with create a foundation for my final outcomes due in May, giving me two full months to work on them. I have clear direction on my next steps but uncertain about the practicality on the work being able to exhibit due to the pasts encounters of the work being too fragile to move. It is this uncertainty that has suggests to me, experiment quickly with metal for its properties of being strong and with methods flexible.
Having concerns about the fragility of the plaster in my work, I decide to consult one of the 3D technicians at the college about possible ways to strengthen my work and talk about other works similar to my style of work and media. I asked about other possible medias that could be use in the same way but unfortunately the medias we discussed like clay were just as fragile. I did however explain how my experiments had different strengths in areas depending on surfaces that contained a large amount of string. This fact suggested became the solution, proposing my future structures to consisted of large amounts of string and develop the outcomes further. Nuala O'Donovan
Whist consulting the 3D technician, I notice the works of Nuala O'Donovan on the wall and was immediately drawn to it. Having concerns of fragility in mind, joint with the sensitive detail and depths of her work, it provoked an attraction and interest into the processes of her work and achievements in the matter - how she was able to create such a beautiful, delicate ceramic piece. I did some research into how she created her work to see if it could aid mine and found that it was her use of media that enable her. Nuala used porcelain which is applied very much like clay but stronger in the form as it doesn't need much support. Unfortunately, I found porcelain to be quite expensive and lack the facilities in the workshops to produce work from it.
'Teasel, Yellow Fault Line' & Radiolaria Grid
Handbuilt porcelain, unglazed and stained. Dimensions 50 x 32 x 30cm. Date 2011.
Handbuilt porcelain, unglazed and stained. Dimensions 32 x 24 x 32cm
Nuala O'Donovan's ceramic sculptures explore patterns found in nature and fractal geometry, similar explorations I am investigating; the bridge between organic and geometric shapes and forms. She focuses her work around living organisms and how they respond to change in their system, and to subsequently recover, adapt and grow. She uses the characteristics of irregular fractal patterns in nature as constraints or guidelines when making and selecting her forms - creating regularly irregular patterns. I admire the delicate repetitive detail and the sense of it being a joining of forms; the piece existing as itself and as well as many, echoing the idea of living organisms. Handbuilt porcelain, unglazed and stained. Dimensions 32 x 24 x 32cm
Noting, O'Donovan's influences of organic forms persuaded me more to work with the association of eggs, encouraging their fragile properties in form and media. Here is an exploration of that compared to the solid geometric form.
Pushing sculptors formed from balloons, I wanted to create an unhallow piece to contrast against the previous works and to see what outcome would be made. To do this I needed to create a layer against the balloon which will remain its form, from when the air is released. I did this using masking tape and was success, until I used a different type of balloon. It was a party balloon that was meant to be played with, that did not resist and caved in with the balloon. It formed an intriguing form that looked like to was relating to living matter.
The new organic form from the deflated balloon has enticed me to explore further with the idea of creating a form from chance, encouraging more of these beautiful coral like forms. I felt the need to cast the piece to make a mound to see the form within a different media. To achieve this, I have the idea of using Alginart, a powder substance that when mixed with water over minutes, becomes a solid form, jelly like. Within those minutes able to create a mound of an object when placed within and remained till harden. With it being a soft jelly like form, it is able to pick up the must sensitive detail and being easy to remove the object within damage even with the structure being as fragile as the deflated balloon.
9th - 13th March, Week Eight - Professional Practice
Action Plan - we have arrange a visit to Whitworth Art Gallery and a meeting at Leigh turnpike this week, so my tasks will be focused on PDP (personal development planning).
I started off the week with a visit to the Whitworth Art Gallery, spending the day not only analyzing the artists work but the exhibition's content and layout to build professional knowledge in conducting my own exhibition in the future... - Review of Whitworth Art Gallery
Another visit i made was to the Leigh Turnpike on request of the proposal I made on the 16th of April. I was very nervous as I want to push across my experiance of exhibitions and my capability of doing it at the Turnpike. The proposal and meeting was more than accepted as seemed over enjoyed that we wanted to show here. It seem that Turnpike from previous years of government support, is now based on a charity and volunteer work base - encouraging works from the community. This came as an advantage for us on support, as I am a resident of Leigh and interested in building up my experience to join them as a volunteer for #CreativeLeigh - not only discounting us but giving us priority. We booked the event/opening evening for Wednesday 20th May, running the exhibition until 29th May.
I am afraid I spent the majority of my time, portfolio building for an interview at Bolton University, applying for a top up year this September. I will be taking an A1 follower, containing a series of images taken from this blog of the work I have done over the past two years on my HND Fine Art course. I will also be taking some of my 3D work within a box to emphasize my intentions towards a 3D way of working. To prepare my portfolio, I decided to invest in a new camera with a 20.1 megapixel to take better quality photo's. Here are some of the images I took placed against a white background to appear more professional.
This was the email I send which was responded to via Phone.
16th - 27th March, Week Nine & Week Ten
Action Plan - Both these weeks have aims to encourage ceramics to add differity to my works, embassies the differty of organic and geometric shapes in it's many forms - also notioning drawing in space.
I wanted to focus on working with spheres or circular forms because it is the closest form to both ends of the spectrum of organic and geometric forms - the perfect shape to investigation my own equines. Clay work takes a lot of time, waiting for it to dry a little, work on it and then repeat again. With was because I want the clay surface to be smooth and polish to perfection, to empathise the geometric shape. I played around with size, scale as well as half shapes, voids and holes. At the end of week ten, they were all fired.
I wanted to focus on working with spheres or circular forms because it is the closest form to both ends of the spectrum of organic and geometric forms - the perfect shape to investigation my own equines. Clay work takes a lot of time, waiting for it to dry a little, work on it and then repeat again. With was because I want the clay surface to be smooth and polish to perfection, to empathise the geometric shape. I played around with size, scale as well as half shapes, voids and holes. At the end of week ten, they were all fired.
30st - 3rd April, Week Eleven
Action Plan - Being certain on the forms I wish to develop, It makes sense to just go with the flow and encourage this way of working. However creating a ceramic piece takes a lot of time and all that needs to be done now is glazing to add colour. I am unsure now what hues I will be using so it is not best to glaze yet until I have build a colour scheme. The targets for this is is to continuing producing clay pieces or develop my plaster techniques and works.
During this year my tutor Lee made arrangements and contacts with Bolton to aid the transfer onto the top up year, to give us an advantage. We are joining them in the end of year exhibition and there art group Canverse Collective, in hope to be joining next year. At the beginning of the week, we visited Bolton University to update ourselves with the second years on the fine art course and the exhibition as well as proposing the opportunity at the Leigh Turnpike.
From the visit, I had a look around at others work and noticed a plaster piece which I questioned. The plaster piece looked like stoneware because they mixed the plaster with vermiculite an hydrous phyllosilicate mineral. This gave me the idea of also mixing something into the plaster, to achieve a more organic look than brilliant white. I chose to use sand I found in college, considering a new radio of water, sand and plaster to make such the structure is as strong as it can be - the result was very successful and even added strength to the piece.
The piece was amazing to my eyes, displaying a great contrast of strong and sensitive features from the circular form and the delicate spread of plaster on the right side. It has both textured and soft surfaces surrounding it and reveals a hole in the centre, leading into the space within the sculpture.
The mixtures media and form has created mind provoking thoughts, due to its having a organic perception in an abstract form - something appearing like living matter yet no representative form.
As I deconstructed what I saw further, I started to feel that the revealing hole, plays a poetic part against association - It's form shares similar formal elements to a 'Heart organ', a hole in the heart; something is missing or an essential hole to live, (further association to life, a provider and pump).
The heart biology has space within it, to allow blood to flow and pump it around the body. Whilst spirituality, the heart is seen to represent our emotional being and decided with a hole, suggests unwell being - another contradiction I have discovered within my investigation, compared to my attempted to discover a bridge between the organic and geometric forms. So the hole in the heart can be seen as lifesaving in the form of physically living but also lifetaking, when we are spiritually/mentally damaged; one hole needs to be filled whilst the other open, but there is only one hole. (considering the two holes in the heart are both needed to life) Although, could you say the mental hole doesn't necessarily need to be filled to live? ...
From these thoughts it made me realize how close the connection is to the mind and body and that both are as important and exist. I question this with Space, has it has no physical form which gives
reason that it does not exists. However, without it there is no proof of
anything else existing. It is our mind that gives it a body and so exists.
The Heart of Space.
Plaster and Sand, 2015
Although the heart associaion was just a coincidence aiding my understanding of space. The piece was the most successful so far in my opinion and I wanted to express my accomplishment. I chose to use social media such as Twitter to publicize my work and a way of building my publicity as an artist. (PDP) Twitter was a great way of doing this because other artists across the world are doing the same and using it to look into other artists.
It was very successful being retweet twice and favorite twice on my twitter and more on the group's Twitter Page @FourSightArt. Most importantly, the public started to see me as an Artist - gaining seven followers whom are artists and local Art Galleries, showing great potential in gaining contacts.
Easter Holidays - PDP Process
Action Plan - Over the easter holidays, accesses to the studio won't be as easy as staff will be off. So my aims for the two weeks is to do online work or other computer based work such advertising, sending emails, networking or even develop my PDP Folder. Advising is very important if we want to gain publicize for our event but also myself.
First of all, people need to know for them to get involved, so we need to find ways of making them aware about us. This means creating adverts in local newspapers, have posters scatter within the community and personal invitations send to them. I started off by creating a checklist of what I could do whilst away from the group; Contact Local Newspapers getting information, Start/Develop an Invitation, Start/Develop a Poster
Lucky, we are still contacting one another through our networking, so I went ahead and did a draft for the invites. . To help me, I did some on online searches into what other artist layouts were like. I analyzed them; viewing the different forms and techniques used to draw attention to the most important details as well as learning what the important details are. I developed a template but during realized the exhibition itself doesn't have a name. I discussed this via our networks, but replies stated it was best to decide in person and so the invite was put on hold. Once I do invenily finish the invites, they could easily be used or transformed into a poster by printing at a much larger scale which would be perfect.
The top of the invite looks like this
Unable to finish the invites, I knew I could still contact local newspapers to see what they would say about the proposal of us advertising in their paper and what would be the costs. Already local myself, I know the best way of informing the community is ever by the Leigh Journal or Leigh reporter (which I don't receive). I contacted the Leigh Journal by email and the next day received a phone call from a man called Tom who has remained in contact with me. Unfortunately, his company couldn't give you perceive digits of cost without receiving the invite which we want to use.(he priced it around £30 - £100 but he was very unsure) Never the less, very enthusiastic in us getting involved with the newspaper and will continue to contact me for future updates.
Having a lot of work being postponed, I choose to do work which only needed me. In planning, I realized that I too want to be advised and stand out, giving me the idea of creating my own business cards. I have do it in the past but this time I want them to be more professional by having them done by professionals. I went online and developed my business cards through Vistaprint's website.Vistaprint is a developer of software and manufacturing capabilities, specializing in print on demand and mass customization. They provides a great method of designing my cards and gave me advice about appealing professional. Although the service was quite expensive, I felt that it was a good investment and designed the cards practical for future use to increase the greatness of the investment. Here is my design with a total of £22.77 for 100 cards with a satin coat.
Update May, a week before the show - Unfortunately Balfour were unable to fund us and send an email wishing us luck.
Our Indiegogo ProfileWe needed other ways of earning money to be guaranteed we would get some. To be sure,I did some research and discovered Indiegogo, a website that promotes projects which people pledge money to if they wish to back the project. It seemed fun and a good way of advising the project.
Later Review, May - The plan fall apart as it required investments into paying people to advertise and the risks weren't worth it.
20th - 24th April - Week Twelve
Action Plan - After the holidays I need to update myself with the process of my clay work and see there drying process and work out what is my next step with them. Although my plaster work is at a greater influence at the moment, because of how successful the previous experiment was. I do wish to continue this enthusiasm and do more experiments with plaster, mixing other materials with it. I used sand last time so I want to see what else I wish to use. I also want to experiment more with the concept of holes and voids, probably by doing a lot more carving work.
I continued to use plaster in the same method as my previous work; covering a balloon with plaster mixed with sand. I wanted explore other ways and so invested in some multi minerals of iron, boron, copper, zinc and others stuff which combine was a blue mixture. I repeated the techniques but didn't find it as successful when it came to moulding. It took longer to dry and was unpredictable causes wanting lumps and form to be created. It did however have a earthy texture and subtle pale blue hue which looked aesthetically pleasing against other plaster works.
As the date for the show was running near, I made it my task to have the Invite designed and ready to be publicized and posted by the end of the week. At the same time, I was surround by the team discussing what the name of the show should be. It was hard to chose, has we all are very different in styles and forms. However one is for sure, is that we all understand the contemporary approaches and the effects it has on traditional favoriting public, we so willing dealt with in the past. They are confused by it and question how is it art. But times are changing and people are becoming more aware of the reasons and pleasure of contemporary art, leaving responses behind such as 'How is that art?', "A five year old could of done that" and our favourite "What on Earth?" which is now symbolic to us, of art being of Earth and so anything in the world is art.
"Earth without Art is with Eh"
Our Invite
27th April - 1st May - Week Thirteen
Action Plan - This week is the deadline for all ceramic pieces to be made so that it is possible to have them fired twice ready for the exhibition. I aim to produce at least one using mesh material soaked in slip (very wet clay) joint with a clay sphere express the depths of space. Other aims are to get our posters and invites printed off and perhaps sent down to the public - giving almost three weeks notice for publicizing.
I invented in some mesh from college for £2 a metre, a material I believe to be made from natural Jute (burlap). I wanted to work towards producing pieces that questioned all ideas of space; being positive & negative, distance and metaphysical association of space. I knew mesh could help me achieve this because the material is designed having gaps within it, laid out as a criss cross pattern. This would question distance between the lines of a form and made into a sculpture, question centre and surrounding space.
Later on Calum and I decided to put up the posters around college and plan to pull them up in both Wigan and Leigh - Calum being responsible of Wigan and I Leigh, (I placed 15 posters in local cafes & shops, supermarkets, the library and the town hall).Calum being Spokesperson in charge of Logoing, had a comments book made for the exhibition with a laser print done of our logo into it. It looked amazing.
4th - 8th May - Week Fourteen
Action Plan - This week is going to need to be well planned and require the contradiction of being patient and working fast place by means of my clay work needing time to be fired and cool down. Once ready, they need to be quickly glazed or coated ready to be fired again for the week later. That week is the deadline for all work to be ready and moved to the Art Gallery, so time is for the essence. At the beginning of the week my clay will be in the Kiln so this gives me time to work on my plaster work and develop them further. Aims are to produce two more plaster pieces and glazed my clay-work.
Reviewing on all the work i have done so far, I felt I had focused too much on circular forms has both the organic and the geometric world, are not only made up of circular forms. I liked the idea I thinking about blocks, cubes and rectangular forms. I didn't have a lot of time to explore them so I decide to just experiment and keep the concept and task simple, producing a two blocks made from Plaster and sand.
I did however, wanted to play with texture, hues and the idea of voids so I used bubble wrap to add texture and created these voids by imprinting into the surface. When it take to adding hues I simply changed the radio of plaster and sand to create a dark tone.
During the production of my blocks, I visualize Vantongerloo's 'Interrelation of Volumes' I had been previously researching for my essay proposal. His sculpture has the appearance that it is made up of blocks fused together, simple but yet skillful because as you analyse the sculpture, it's composition constantly changes due to how our mind perceives shape and volume. This causes slight uncertainty in the distance of piece and therefore unresolved about it's space.
From what I learn from the artwork, I decided to have two hues within a block which carry on, onto another block placed on top - creating the form of two blocks built upwards. I did this because I wanted the first block to appear like two because of the two tones, nonetheless appear like one, for the reason that it is in a persaces rectangular structure. This makes you look twice at the structure, as the tones make us frist believe that the two different colours are the two blocks, when in fact one tone is within two blocks and the other sharing one - causing the composition to change and our awareness of space.
One to one with Lee - I wanted to encourage this playfulness with space within my work and so questioned my tutor Lee. We spoke about the placement of the objects being the best way of achieving such concepts and the use of mirrors. When we placed the mirrors around the objects, it created more blocks (nonexistent blocks) further changing their composition and form. This achieved the riskiness of curiosity I wanted, to define what was the physical space and even proved my questioning and medding side. Moving the objects around, they developed a poetic relationship with one another, when there should of being a strong contrast of hard and soft shapes. The holes in the blocks echo the repeated circular movements in the string pieces and the square mirrors related to the rectangular/ squared forms of the blocks.
11th - 15th May - Final Week
I invented in some mesh from college for £2 a metre, a material I believe to be made from natural Jute (burlap). I wanted to work towards producing pieces that questioned all ideas of space; being positive & negative, distance and metaphysical association of space. I knew mesh could help me achieve this because the material is designed having gaps within it, laid out as a criss cross pattern. This would question distance between the lines of a form and made into a sculpture, question centre and surrounding space.
Mesh for £2
To empathize the combination of questioning, it was necessary to pair the mesh with a solid circular clay form, showing the depth of the concepts and echoing the qualities I favoured within the Physalis fruit; "delicate it appears from the leaves yet the berry holds a strong geometric spherical form". To produce the pieces I had to soak the material in wet clay until it has fully absorbed the clay. Sculpturing with it was very difficult has it came very heavy and loss of it's firm and bounciness to remain a sculpted form. To support me, I used scrunched up newspaper to act as space and crested distance within the piece since in the kiln, the paper will burn away by the time the piece had a fixed form.
Posters and Invites - £6
Away from practical work, we started to prepare for the exhibition and had 100 invites printed off at A5 and 20 posters at A2. The cost of the invites were £15.90 and the posters were £8, totally at £23.90 which we shared between us - around about £6 each. The idea now was to get them off and take home to family and friends, a lot of the invitations were done by email to individuals such as; the Cross Street Artists, Governors of Wigan & the college, Wigan council, other artists via Twitter and etc.
Later on Calum and I decided to put up the posters around college and plan to pull them up in both Wigan and Leigh - Calum being responsible of Wigan and I Leigh, (I placed 15 posters in local cafes & shops, supermarkets, the library and the town hall).Calum being Spokesperson in charge of Logoing, had a comments book made for the exhibition with a laser print done of our logo into it. It looked amazing.4th - 8th May - Week Fourteen
Action Plan - This week is going to need to be well planned and require the contradiction of being patient and working fast place by means of my clay work needing time to be fired and cool down. Once ready, they need to be quickly glazed or coated ready to be fired again for the week later. That week is the deadline for all work to be ready and moved to the Art Gallery, so time is for the essence. At the beginning of the week my clay will be in the Kiln so this gives me time to work on my plaster work and develop them further. Aims are to produce two more plaster pieces and glazed my clay-work.
Reviewing on all the work i have done so far, I felt I had focused too much on circular forms has both the organic and the geometric world, are not only made up of circular forms. I liked the idea I thinking about blocks, cubes and rectangular forms. I didn't have a lot of time to explore them so I decide to just experiment and keep the concept and task simple, producing a two blocks made from Plaster and sand.
I did however, wanted to play with texture, hues and the idea of voids so I used bubble wrap to add texture and created these voids by imprinting into the surface. When it take to adding hues I simply changed the radio of plaster and sand to create a dark tone. During the production of my blocks, I visualize Vantongerloo's 'Interrelation of Volumes' I had been previously researching for my essay proposal. His sculpture has the appearance that it is made up of blocks fused together, simple but yet skillful because as you analyse the sculpture, it's composition constantly changes due to how our mind perceives shape and volume. This causes slight uncertainty in the distance of piece and therefore unresolved about it's space.
From what I learn from the artwork, I decided to have two hues within a block which carry on, onto another block placed on top - creating the form of two blocks built upwards. I did this because I wanted the first block to appear like two because of the two tones, nonetheless appear like one, for the reason that it is in a persaces rectangular structure. This makes you look twice at the structure, as the tones make us frist believe that the two different colours are the two blocks, when in fact one tone is within two blocks and the other sharing one - causing the composition to change and our awareness of space.
11th - 15th May - Final Week
Action Plan -This is the last week of the project so its all about finishing of practical work and finalizing everything such as preparations of presentation and organizing transport. Anything has to be done and ready for the show next week. Aims are to produce a checklist of what we need and get everything ticked off, moved and evaluated.
First thing to do was the get the clay piece glazed in time to be ready, giving myself only Monday to do it. I decided to use organic colours of browns and its hues against black, dark blues and mirror effect clay to glaze with, which I felt demonstrates my influences within the project and the concept of the polarity of the forms having contradictory tendencies.
Another technique I used was the saggar firing technique which creates an unpredictable earthy effect and tones. I wanted to try the technique as I view previous works at the college that show great potential in aiding one part of my investigation of exploring natural forms and accuracies. I also admired the idea of creating more pieces with distinctive lines within it, showing perspectives of space in flat surfaces. To achieve lines, I wrapped copper wire around my biscuit fired clay. The copper will react in the kiln and burn into the clay, leaving a line. I also choose to burn sawdust, salt and beetroot to add colour and create a fiery effect onto the clay, adding interest and attraction.
On the Monday, We were successful in transporting all the artwork safely to Leigh Turnpike and place them in a storage room, whilst we prepared to plan the layout of the exhibition. Unfortunately we hadn't measured the conditions of the room with great care as we noticed the display walls were not up to professional standards of a brilliant white walls. Particularly, the charity had received the walls from other sources and had done much to them. We took it upon yourself to paint the walls and extra plinths so that our show would look more presentable.
This took a lot of time of us as we were still painting on the day of the show when ideally, we needed all three days to mount the work. It make it more stressful, we only had a linti time access to the room as it is used for other activities, meaning we had to clean and move work out of the way, each time we were in. Although the time management didn't go to plan, we were able to achieve and overcome the obstacles thanks to our hard work and the extreme help we had from our Tutor Lee.
Ceramic
Realm, 2015
Ceramic
Cage, 2015
Ceramics
Interlude, 2015
Ceramic
Space Out, 2015
Ceramic
What an amazing night we had at our show. People show great support and I truly feel great progress has been made in my artistic and professional development from the accomplishment of this show - publicizing my work and organizing this event.It has been the most successful show so far in the form of developing contacts and achieving great interest from the viewer/ public. I am so proud of the team and how we were able to Transform the site in such a short space of time with highly specialised properties of a professional art gallery and gain sponsors and catering to sponsors us and the show. WELL DONE TEAM!!
First thing to do was the get the clay piece glazed in time to be ready, giving myself only Monday to do it. I decided to use organic colours of browns and its hues against black, dark blues and mirror effect clay to glaze with, which I felt demonstrates my influences within the project and the concept of the polarity of the forms having contradictory tendencies.
Marticals for burning (not gathered) - £1.68
Domian, 2015
Saggar Fired Ceramic
During the week, It was brought to our attention that the amount of funding we gathered from sponsors (such as J.Fletcher's thanks to Charlotte) wasn't going to cover a larger amount of the costs and we need to find other ways. Rethinking were we could try, It made sense to apply at our College whom we will be advertising and students of (aiding our plead). To apply we needed to fill out a form detailed just like the table below and gave it in the same day. Here are all the costs we are concerned about which we discussed.
The total amount of costings are;
which we estimated and rounded upwards to make profit for our time and effort.
Group Marketing – Invites/posters/visitor book/key information – £50:00
Group are also saving on marketing through emailing invites and use of personal Blogs/social media links/College website
Personal Marketing - £20:00 per student – Group Total £80:00
My total cost for marketing was - £28.77
Material Cost – Per student £75:00 – Total £300
of my own investigation, materials and productions being around about - £43.61
Venue Hire - £350:00 - £50:00 per day
Preview evening security - £60:00
Catering/refreshments - £70:00
Exhibition Total - £910:00
Letter to the Governors
HND in Fine Art Year 2 Level 5
FoursightArts Group,
Wigan & Leigh College
Calum Rennox
Georgia Smallshaw
Chloe Reynolds
Charlotte Stockley
FoursightArt@hotmail.com
Dear Governors,
We are four students currently reaching the end of our HND Fine Art Yr2 level 5 programme of study at Wigan & Leigh College. As part of our end of year show, and essential units, we have formed a new group called FoursightArts. As an important element of our course will be exhibiting work both in Leigh and Bolton in the near future. These exhibitions will be group shows and will include forming student partnerships, from Wigan, Leigh and Bolton campuses. The four of us are progressing to Bolton University after this year, and are building professional partnerships and curatorial understanding.
The exhibition in Leigh is scheduled for the Turnpike Gallery from 17th May until 29th May as a part of the Creative Leigh arts initiative. As part of this exhibition the A Level Art students based at Leigh 6th Form Campus may have be invited to participate, and discussions with Pre-Degree and year 2 Level 3 Art & Design students are in progress. This we feel is helping to support and develop the Arts on a local basis within the borough, throughout the College, and in a time of financial constraints.The reason for writing to you is to publicise arts within the Wigan and Bolton Boroughs, and to approach you to discuss relief through financial support, this would assist the group towards the costs incurred in putting on a show in these locations.
The costs would include materials for hanging / mounting work, production of publicity materials, insurance for the duration of the exhibition, transport, private preview evening refreshments associated with curating and presenting a professional. Any amount of monies and/or support you could provide would be welcomed, no matter how small.
We could meet with you as a group to discuss the ongoing project, and provide you with a more in-depth proposal when required.
We look forward to hearing from you.
Regards
FourSightArts Group
Calum Rennox,
Georgia Smallshaw,
Chloe Reynolds,
Charlotte Stockley
2014-2015
Requests for Financial Assistance from the Wigan Foundation for Technical Education
for Trips and other Educational activities
Member of staff submitting request and contact details.
Name/ tel no/and e-mail:
|
Lee Paton HND in Fine Art Course Leader
Student Representative - Myself
|
Student Group
|
HND in Fine Art Level 5 Year 2 Students
|
Date of Trip
|
Exhibition Curation 14/18/19/05/2015
Preview Evening 20/05/2015
|
Destination
|
Turnpike Art Gallery Leigh
|
Total cost for the student group
|
Overall Cost £910:00 – Minus £300:00 Media materials
Minus £300:00 Venue
Minus £50:00 Marketing - Group
Total £610:00
|
Total cost per student
(including any contribution from the Foundation or other sources)
|
Overall £227:50
Minus Sponsorship - £140:00 per student
|
Number of students requesting assistance
|
4
|
Additional expenses for travel and admission etc. to be paid by each student
|
Material and Media costs per student £75:00 subtracted from the overall cost
Probable Costs for hanging materials/frames etc
Some incurred travel expenses, negligible.
|
How much in total is being requested from the Foundation?
|
£150 - £200
|
Is funding being sought (or been granted) from other sources? If so, how much?
|
Sponsorship
Creative Leigh: Venue Hire secured for free - £50 per day total for the week £300
Marketing – J.Fletcher's - £50
|
Description of visit/event
|
HND year 2 in Fine Art Final Major Exhibition – Group curation, promotion and exhibition during Leigh Creative Festival event month
|
Why do you feel the Foundation should support this activity?
|
An exciting opportunity to work in partnership with the wider creative community – Wigan & Leigh College promotion through local media, and social media – students personal blogs and group website
|
Can you confirm that the appropriate risk assessments will be undertaken?
|
Yes – Linked with Sue Counsel, Venue Management, Appropriate College Risk Assessments
|
Who will be providing feedback for the Trustees?
|
Lee Paton and Student Representative
|
The response was quite late but we were successful in the form, they would provide our needs such as drinks and catering equipment to greet the guests with.
18th - 22th May - Exhibition and Evaluation
Action Plan - With all the artwork done, it's all about transporting the work and presenting it, conducting our exhibition. On the Monday we will be using a van from the college to transform the work, using boxes for my sculpture protected by newspaper. The remaining time will be used to mount the work on the boards and placing my plinths and work around the room (My plinths my need abit of painting first). And last but not least, printouts of names and artist statements. 
On the Monday, We were successful in transporting all the artwork safely to Leigh Turnpike and place them in a storage room, whilst we prepared to plan the layout of the exhibition. Unfortunately we hadn't measured the conditions of the room with great care as we noticed the display walls were not up to professional standards of a brilliant white walls. Particularly, the charity had received the walls from other sources and had done much to them. We took it upon yourself to paint the walls and extra plinths so that our show would look more presentable. This took a lot of time of us as we were still painting on the day of the show when ideally, we needed all three days to mount the work. It make it more stressful, we only had a linti time access to the room as it is used for other activities, meaning we had to clean and move work out of the way, each time we were in. Although the time management didn't go to plan, we were able to achieve and overcome the obstacles thanks to our hard work and the extreme help we had from our Tutor Lee.
Transformation of the site
Final Outcomes and Artworks
Here are images taken fro the professional photographer we assigned for the show of the work of mine I favoured the must and the public.
Aether Cherry, 2015Ceramic
Ceramic
Null and void, 2015
String Sculptor
Ceramics
Ceramic
Ceramic
Heart of Space, 2015
Plaster of Paris mixed with sand
The Show
What on eARTh?
What an amazing night we had at our show. People show great support and I truly feel great progress has been made in my artistic and professional development from the accomplishment of this show - publicizing my work and organizing this event.It has been the most successful show so far in the form of developing contacts and achieving great interest from the viewer/ public. I am so proud of the team and how we were able to Transform the site in such a short space of time with highly specialised properties of a professional art gallery and gain sponsors and catering to sponsors us and the show. WELL DONE TEAM!!
On the night, I received a great amount of comments towards the show and my work all being positive. I found viewers had a lot more to say and interest from previous shows, asking about my influences and making more skilled full artistic comments on how my work was presented (not just a well done). One particular comment was the size and colour of my work, not only is it great for me in exploring my concepts but from a buyer's point of view, practical for common homes and posses neutral qualities.
I had find a couple of challenges on the night but most of all talking to our sponsors the Wigan College Governing Body and The Principle. Once I got over my nerves, I enjoyed talking the them about my work and they even got integrated both my inspiration of Space and understand why. They even gave me a great sense of achieve as they commerpented my investigation with the statemnet I placed against my work;
"What inspired me the most was the contradicting fact that space has no physical form which gives reason that it does not exists. However,without it there is no proof of anything else existing."
My Artist Statement
This series of works have been inspired by the concepts of space, investigating ideologies and the ways in which space has been preserved within art. I have been influenced by the question. ‘What exactly is space’? Further questioning, my own interpretations and its existence within my work. My approach was to interpret and identify the true definition of space and using that understanding to enable me to inform it as a media. I looked at the common notions of space and the relations we have towards it; such as it being somewhat of a mathematical measurement. This encouraged the use of geometric forms like the cube and sphere.
What inspired me the most was the contradicting fact that space has no physical form which gives reason that it does not exists. However,without it there is no proof of anything else existing. I explored these ideas with association, experimenting with holes, voids and mathematical forms. The process emphasized how people gain knowledge of the world around them; perceiving shapes, space and volume as well as highlighting the rules on which the world is based on, physically, metaphorically and culturally analysing ideologies of art movements Constructionism and Minimalism.
I have been encouraged through a way of working using my particular favoured media of wood, clay and plaster; exploring the phenomenology of sculpture combines with the ideology of space. I have juxtaposed both geometric and organic forms, to fuel my strong interest of understanding the bridge between both differential forms. These sculptures analyse the perceptions of space within its form and that around it, enforcing the use of awareness toward its surrounding. I have achieved this with the use of reflection and primary associations such as mirrors and the deception of our instinctive calculations of a form. I have taken inspiration from contemporary artists Robert Morris, Cornelia Parker and Rachael Whitereed whom use the ideas and associations of space to inform their work.
Chloe Reynolds
FoursightArts
HND Fine Art Level 5 year 2
As an summary of my work, I truly fell I have been successful in my research and discover of what defines Space and developed a greater understanding of what I am a an artist striving to build a bridge between the organic and Geometric World.
In a professional note, I feel it has given me full confidence in my ability to be a independent practitioner and in my work. I am now prepared for future shows with less support from my tutors and staff. I would like to say Thank you to both Tutors Lee Paton and John Walkden for all the support over the years and the knowledge they have passed on to me.
Lee Paton, Georgia Smallshaw, Charlotte Stockley, Me, Callum Rennox and John Walkden
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