I have been really busy this week finishing off the academic work required for the course, the hand-in deadline being tomorrow. I have been busy writing reviews, making up exhibition proposals and working on my artist website (big and small), business plans, cvs and the like. It is a relief to post it all off for submission and get back to the painting. I have been busy.
I have had 2 tutorials this week, one with the visiting artist as posted earlier and one with the lecturer on wednesday. Both are of the opinion that the text are the hot areas. I have ordered 6 A3 size mdf boards from woodworking to work on a number of samples next week.
Also discussed was my earlier experimentation with sanding down the paint and I got some really helpful advise on how to improve this as I was struggling. Basically, I do need a proper sander so I need to source one of these during the weekend. Being more sophisticated with the painterly process will be really important if the intended forthcoming text paintings are to have any real power.
I have just found out that my proposal for The Artist and The City exhibition at the Potteries museum has been successful so I have a meeting with them at the museum next week to run over a few things. I am really delighted to have this opportunity.
Today’s paintings are one test piece using text only and the start of another union jack/figure/the naked truth image.
I have loads to say about these paintings and the progress to far but will keep that until I have done another days work tomorrow. I am looking forward to getting into the studio tomorrow and working on the face.
A good day
Today we had an artist talk with Miranda Whall who lectures fine art at Aberystwyth. She discussed her current project called “Passage” and showed us a 22 minute film of the work. I was interested in her comments about collaboration in its may forms from the sound technician to the various people she had been in contact with as part of the project.
The film itself as it stands is a 4 screen affair that overall is calming, looking at a sense of place and reflective. French is spoken and I did struggle to translate it apart from the odd word. The language and sound used seems to have equal privilege to the images shown. The uplifting piece ends in darkness and a distressing dance vocal. She described later that this element of the work was a 95 year old Tai lady who practiced KHAW, that is to sing poetry.
She then talked about her folder sheet as a way of presenting the work and how all the images and ideas came together. The workings at such a direct level which are mini works in their own behalf, are always far more interesting than the finished piece as it is the journey itself that gives the greatest journey.
I had a tutorial afterwards with her. Her comments about the work I still need to digest further but in simple terms, it was the strap lines that she was interested in and not the painting.
I have also been looking more at Judith Butler as I need to back up some of my reasoning in my longer artist statement at 750 works with critical value. I have found a marvelous quote from her that I will use as an introduction. I felt that I have only just started on my understanding of Butler and I know I will be revising the library again for her. The book by Moya Lloyd which explains the reasoning behind her words is really helpful in simplifying what is a high brow text.
