Evaluating my practice was a really useful and insightful way of taking a measure of where my practice sat prior to starting the cpurse. I felt this was the most unresolved, workwise module. I also felt that the work that I produced was very modest in both quantity and devlopment. I started to really slow down and spent more time reflecting than making. I took the opportunity to really research and expanding on this. Throughout this module I felt really uncertain.
I started to spend a lot of time commuting and the agony of this situation started to filter in to my work. However, significant changes started to occur where once I had trawled the internet for imagery I now was taking surreptitious photographs. I was still struggling with whether or not to place the figures in or out of context.
I felt that this was the start of my work changing direction and was using the whole project as an exercise to start experiment more with process, materials. I looked at how I could move away from conventions looking at different approaches.
Re-evaluating my practice from October 2015 - March 2016 I could see how my approach has changed significantly. As well as painting I experimented with different materials and processes. The woodwork facilities enabled me to make my own surfaces for painting. Exploring elements of the casting processes allowed me to begin to assess whether I can include that within my practice. I have also investigated various printing methodologies and processes allowing me to question its context or relevance within my own practice. It was a time where I felt that I did not really make much sense of what I was doing and did not produce a lot of art, considering how prolific I had been prior to the course.
I had moments where I felt paralysed to create work but used these times to reflect, research and reassess what I was trying to represent through painting. It had been a journey questioning whether I have been a social observer or a social commentator or whether I need to make a distinction. I feel that my journey was still evolving in terms of how I saw where my practice sits, but I also knew that painting is how I could best express myself. The volume of work produced had definitely been affected. The general pace at which I was painting seemed to have altered drastically too, it felt slower and more considered. I also believe that some of the paintings I produced were unresolved, specifically, the series with the thought bubbles. But I felt that most of what I was doing was like treading water and not quite sure where the shoreline was.
Chelsea SUArts Space
Chelsea College of Arts
Self- Initiated Project
I feel that the series of work that I started quite early on in the course was really becoming problematic and it was a struggle to find a language where I was able to really communicate through both my subject matter and by the context of how I was approaching the work. I had begun taking the figure out of context, this to me is always a struggle to determine which approach to take and when. Although I was spending far longer with the painting than I have historically I was also trying much more expensive, professional quality paints which were giving much more rich colours but it was also like learning to paint all over again!
Open call selection
Taking the Initiative
I had always intended to start the Masters with a view to responding to the core of the course which embraces sustainability. Edwina had given us a gift at the beginning of the Masters by confirming that we we're all emerging London Artists. With that I felt that I could embrace that ethos and start to make things happen by self-intiating projects, not just with the whole of my peer group with the 1' show at Chelsea but by also seeking out other opportunities.
I felt that I really started to make more leaps forward professionally by organising and participating in so many external projects, exhibitions and open calls. This was a really positive and rewarding start to the course.
I embraced the different facilities available at Wimbledon and started to use various workshops to see whether my practice would benefit or not from one or several different processes. I used the opportunity to create some mold making with wax.
Additionally I booked some different print process workshops from etching to photo-etching, screen printing, intaglio and dry point etching. All workshops were different ways of approaching printing and I had hoped to continue developing one or more of the processes but time and travelling made this untenable.