Reconsidering strategies, Adaptation, Appropriation, Interpretation

After further thoughts around what I'm trying to achieve for this project.  It was explained to me that the words adaptation, appropriation, and interpretation are devices to help us create strategies to help us understand contemporary art.  The stuff that we make, the more there is means the more that it can be critiqued.  Therefore we have to keep making continuously.  Studio practice is vital in order to make as much stuff as possible.

There are only two weeks after the Easter break before the final year assessment, and exhibition.  These two weeks will comprise of many critiques.

The final year of my study will comprise of seminars, critiques, journal reviews Gallery visits and other informative work.

I must reconsider where I am as an individual within my own learning path, and used the studio practice to demonstrate where I am and what I have learned.  This is the most important things that I can do through my degree.

I understand that critiques will form a major part of the third year.  An "in vivo" (in situation) style is adopted in order to position our own thinking against the culture of contemporary art outside this studio.

The language that we should use for such critiques should be in terms of the piece itself, not the present.  A description is only part of it, analysis is the key to critique.  It's basically asking the question why?  (I am always reminded of Rudyard Kipling's poem regarding his six honest serving men.)

Now is the time for me to rethink how, as an artist, I'm communicating with the work that I practice?.

Why-how-what-which-when-where are all the questions that I must ask all of the work that I choose to create...  This next year is all about the completely immersed engagement, where I need to offer ideas, words, and feedback on my own work as well of as others both positively and from a critical perspective.  It is really clear that I need to offer my best work.

I need holistic references to build, to perform over and over again.  The content and method should be contemporary.

It is worth me looking into the work of Alberto Guillometti and his drawings, which highlights the building of works through process.  In his works, subjects are traditional and it is the portrait that brings out the newness in a piece of work.   From this I can learn that I need to find a repertoire of both line and mark making.  Another suggestion is to look at the work of Leoger, a Flemish artist from Belgium.  Also to look at the work in the Stanley and Burton Gallery of John Bratbury(?).

I need to paint and draw new subjects!