I was quite resistant to the idea of face-to-face feedback to begin with. I felt I would be too nervous to remember what was said and unable to answer any questions coherently. I need not have worried! Cari was warm and supportive, what came from our discussion was really thought provoking.
Here I will begin to consider some of the points Cari raised in the written summary she provided:
– Strong clarity of image achieved in monoprints, through good use of mark making on the plates. The influence of Matisse on the nature of the image is clear.
– You are directly responding to both the technique and approach seen in your contextual research, which is great.
– Good range of material substrates tested to achieve a range of aesthetics.
– You’ve explored composition well through thumbnailing in the sketchbook but the prints often have a central motif surrounded by negative space and texture. Explore more varied compositions in future print, testing where the image appears within the frame.
All of my sunflower series featured a central motif, of course I must have noticed this- it was partly why so many images were culled at the selection phase- they were too similar. Why did I reproduce the same image so many times? I guess because I was experimenting with materials- paints, inks, papers and fabrics, I chose to the same composition to provide a constant when comparing results. Given that I had gone to the trouble of thumbnailing compositions I don’t really know why I didn’t carry this through properly.
I could easily do this and add to the presentation book with a note to say they were made in response to feedback.
– Figurative, illustrative approach worked well (sunflower series) and great to see exploration of text too.
I really enjoyed the illustrative element of printmaking. It did feel nice to be producing something that looked like something else. Cari suggested prints don’t need to be ‘of’ anything and given my interest in abstraction I am surprised that I felt the need to be so figurative.
– You’ve also developed some good repeat patterns. The knitted print in the sketchbook has great rhythm and depth produced through varied line and colour interaction.
– Great to see exploration of relief and 3D – printing on pleated / corrugated / folded materials. Consider presenting photographs of the pleated prints, so you present the work as you want assessors to see it.
This was really a credit to Cari whose Pointer for the Next Assignment at the end of Part 3, really inspired this line of enquiry. We discussed the addition of photographs to help explain the construction of the pattern. This makes a lot of sense to me and aids the inclusion of 3D.
– Working onto prints – drawing, scratching, layering, works really well.
Working on top of my work is something I felt I had never had much success with before. I am glad Cari found it worked well, I did concentrate a lot of effort on improving this area of my work.
– The sketchbook contains some great tests and the aesthetic is more varied than in the presentation book. The quicker, more minimal exploration haven’t been valued in the presentation book to the same extent as the more traditional approaches. (E.g. minimal pattern, the woven photocopied prints.) Consider the criteria on which you are selecting work for presentation.
I’m so glad this came up. It identified a misconception I had about the selection process. I thought I was representing the journey through the exercises, demonstrating what I had learned, including mistakes. I now realise I was supposed to be showcasing my best work. This misunderstanding might be contributing to the fact that my sketchbooks are always better than my final pieces.
We also identified that I have preconceived notions that to be ‘good’ or ‘final’ a piece of work must reflect an investment of time. This would help to explain why pieces like these were omitted:
I explained to Cari that on some level, I know they work but I just don’t understand why. She has recommended some things for me to think about (see * below).
– Discussion continues to critique and question your approach and the nature of the work.
– There were times when I’d have liked some more evaluative comments about the aesthetic (composition, role of motif, what it communicates), as your discussion of the prints focusses more on the technical aspects. Consider broadening your evaluative notes in part 5.
The conundrum continues… how to write less without leaving things out? How to broaden my notes with out saying too much? I think that this issue will resolve with practise. I will find a balance!
(*) Crafting, perfection, time… What makes art have value?
– Some really interesting questions emerged through our discussion about your perception of value, which it would be great to consider reflecting on.
-Time and crafting: Should time-investment in art work equate to value? If something looks more detailed or time-consuming, does that make it more expensive?
– Context: Look at the different contexts within the art world. People buying work for their walls in a local gallery work may value different aspects compared to visitors to the Tate Modern. Tracey Emin’s tent was vilified for looking thrown together, eliciting comments like ‘I could have done that’ at gallery shows. In this example, does the concept being communicated through the materials/process create the value rather than the process/medium? What do you value in others work and your own?
– Function: Quilting and similar craft disciplines when used to create functional outcomes need to be well crafted to ensure they withstand time and use. When processes are used to create work that isn’t functional, the role of crafting will shift.
– Sloppy craft: Consider the execution of techniques in art. Is perfection necessary? Something may be time-consuming but not look it. Look at the sloppy craft movement and Josh Faught’s work. (There’s an academic test about this but I haven’t read it yet. Sloppy Craft: Post-disciplinarity and the crafts, Elaine Cheasley Paterson, Susan Surette)
I think these pointers go a long way to illustrating the benefit of video feedback. The issue came up through back and forth questioning, the result is perfectly tailored to meet my needs at this moment in time. I am not going to comment on them yet but I will definitely be giving them much consideration.