I was very pleased with Contextual Studies (1st) as I was expecting a far lower mark.
The comments in the CS criterion 'Critical Awareness', which, after all, is the crucial part of the exercise, were super:
"Critical awareness of an excellent breadth of contexts and debates extending your personal and/or professional knowledge and understanding."
For reasons which will become obvious, I particularly like the overall statement in the 'feed forward':
"As ambitious as it is engaging, this is an eloquent, thoughtful, quietly impassioned and very determined piece of writing. The personal context of the work provides a neat ballast to its obvious political implications, and there are a number of sharp, plausible thought-provoking ideas th...
Although this is technically for Sustaining Your Practice, my next module, I was itching to put a maquette together to see how the work would hang.
More of this under the BoW A5 tab. The maquette is based on dimensions sent by the gallery but I need the dimensions of the width of the walls before I can finalise the maquette lay-out as the width of the entrance is not as it is represented above. The metalwork on the walls needs some attention because, as it is, it would interfere with the flow of the exhibition while having no relevance to the subject. The scale of maquette and images is 1:25.
One of the cells will have an installation based on prison gardens work that I propose to do for SYP, while the other will have a...
Based on drawing instructions to enlarge small areas of a drawing or photo to their limit, and developing my prison plant imaging into different genres, I decided to add stretching pixels using the marquee tool on Photoshop & have come up with the following:
Having organised OCA study days in as many disciplines as there are tutors who will run them, I attend all of them, including a practical day in drawing.
Only last month I was wondering what I would do if a tutor could not take the scheduled meeting! I must stop thinking!
I was very sorry to be told on Friday that Michele had had a family emergency and could not take our meeting on Saturday. I was on my way to a reunion in Launceston so I did not have any of my contacts or information on me. So I called someone who, I had hoped, would be able to help. I knew how disappointed I had been to cancel Doug Burton’s scheduled study day because we did not have the funding, so I asked Paddy Howe to get in touch with him and we were given a re...
I haven't written up the gazillion exhibitions I went to in 2017 so I wasn't going to go to any more until I had caught up.
Things don't always go to plan.
That's when I made a resolution to write up the ones I go to this year as soon as I get back from them!
This spate of exhibitions came about because OCA Catherine very kindly asked if I would like to go with her to the London Art Fair since she had won 2 tickets. I did not hesitate in replying - very gratefully. The train tickets were bought and my accommodation was sorted very quickly. I decided to stay overnight before the event because I can never rely on the train getting in on time.
Having arrived 3 hours before I had arranged to meet my youngest, I was goin...
2018 Calendar; Gloucester railways; printing; History of art; Uploading files to G drive; use of moon phases, and others in a photography project.
My newsletter to all at OCA SW:
We had our first meeting of the (calendar) year yesterday and, being a small but significant group, we had time to talk exhaustively about our work. Having gathered at 11, we finally started our car engines to disperse just after 4pm with a soup lunch and lots of inspiration in between.
We discussed photography assisted by archival research on the railways in Gloucester; eco-printing involving, inter alia, India Flint and Hapa zome printing using hammers, mordents, colourants, eucalyptus,onions...; the u...
When looking at the massive exhibition of the work of Wolfgang Tillmans in March this year at the Tate Modern, I was again struck by the exuberance of his output: he photographs simply everything and I love that: he does not have a hierarchy of subjects, anything is worthy of being photographed. I first saw an exhibition of his work in Arles in 2013 and instantly liked what he was doing.
Laura Cumming writing of the Serpentine Gallery exhibition in 2010 in The Guardian states: "He showed hundreds of photographs, mounted all the way from skirting board to ceiling. They came in 57 varieties of format ... And they were as boring as they wanted to be – or so it seemed to me. Tillmans had no style but every style, no particular subject but...
This blog should have preceded yesterday's but here it is anyway.
Looking through my 3k+ images in my BoW folder in the hope of finding something meaningful, I came across one which bothered me when I took it and had done nothing about it at the time. The entrance to HMP Dartmoor, the setting for the letters which started off this whole project, has a latin inscription "Parcere subjectis" 'Take care of the vanquished'. My investigations led me to Virgil's Aeneid (c 29 - 11BC) and, from there, links to my beloved Dante (13th C AD) & his Inferno. Hurray! I had always wanted to do a project based on that but nothing ever cropped up, and perhaps it still hasn't but, at least, it's a whiff away!
My main concepts in assembling the images for my BoW assignments were place, time and self. I had chosen to depict time by putting the date on which the letters had been written on the top left hand corner of the combined letter-extract cum image of an aspect of the prison:
When my tutor , in her feedback, told me to include the theme of time, I realised that my idea had not worked.
Subsequently, I remembered having picked up some flower bracts off a 'Handkerchief tree' or Davidia involucrata in the previous June and had put them in a magazine to dry. I decided to use these to represent not only the passage of the seasons during imprisonment and therefore time, but also the season in which my prisoner friend was going to be r...