Major Project - Reflections on Studio Practice, W2/3

Having spent the number of hours in the studio developing my concept for quickly produced drawing/sketches and paintings using the object of my plaster of Paris garden gnome, I've created a series of paintings using acrylic mixed with plaster, to produce an almost impasto effect.

I wasn't too happy with the 1st set of 3 pencil drawings as they were too constrained. However they did provide a template in order for me to create further work outlined below.

The colour choices have been very much experimental and after some deliberation I realised that the theme of fading memories and THINGS LEFT BEHIND might perhaps be better articulated graphically by just providing a hint of the outlines of the materiality and form of the objects, whilst appearing to be suspended on a more etherial background.

The end result of this excursion, I am now a little more happier with, but I am now looking for feedback from my tutors and my other peers with regards to its value, and if I should pursue this style or not.

Conclusion:

this experimentation has been very useful, and I'm reasonably satisfied that I can pursue this sort of style and many more further works, as they do provide a somewhat haunting image, and I believe may entice a viewer into more curious enquiry.

My composition and arrangement needs to be more carefully planned, but I am satisfied to some degree that my approach is worth further exploration.

Research and Development, "Areas of Practice" - seminar notes.

This seminar was the 1st in a series, designed to give the group a workshop style problem-solving session, which comprised of approximately 8 students, and to experienced tutors, Dr Alison Romilly, and Christian Lloyd.

The context of this seminar is to establish how do we inform ourselves, and how do we completely immerse ourselves in the "art world". In other words how do we become "professional"

With regards to my own practice motivation I explained that my area of interest was a commentary on contemporary culture and in particular this would need to blink with my interests in both philosophy and popular psychology.

What I need to remind myself continually throughout my practice is how does my work find a home? In other words where and who is the audience?

To answer these questions I also need to ask myself "what I actually trying to do?" And with this, I need to ask who does similar work now? Where can it be found? When can I go and see it? What context has this been created in etc etc I therefore setting up the boundaries for my practice in order to develop a research "question"
in essence what I'm doing is I am defining the problem. What context are people currently practising in a similar way doing now?

Recommended studies to investigate would be that of "Larves and Wenger" and their book "The community of practice"…
 - Within their books they discuss the models relating to practice and communities and liken it to concentric circles of communities revolving around the central inner sanctum if you like, of key people. Each of those concentric circles contain groups that are closer and closer by each barrier or ripple of the concentric circle to the most influential key people at the centre. The idea is to get through each of the doors to each barrier or ripple, by finding suitable introductions through understanding what each of those communities as individual people actually want this is an enabler to cross each of those boundaries to get to the inner sanctum.

I understood this concept immediately having spent many many years in the sales profession, and understanding communities is no different to understanding corporations with centres of influence key decision-makers and recognising where and who time wasters might be. This sounds a little ruthless, but understanding where the time wasters might be is essential, otherwise a great deal of resource and time can be spent with some individuals for no return at all.

In conclusion:
I need to explore what disciplines (and influences) I am drawing upon in order to grow my own practice. I need to find and understand where and who the decision-makers are in order for my practice to become recognised. I can then focus on what they want, in order to get to know them and get their own attention. Again I need to continually ask myself "why?" In other words why do I make the stuff that I make in the way that I do it?.

Theory lecture, Notes of 9th October

Dr Elizabeth Caldwell provided some tutelage regarding academic skills in order to improve the group's confidence in writing their dissertation.

Recommended book to obtain would be "Art in theory", by Harrison Wolf.

In simple terms what we are type trying to do in planning an essay, is to ask ourselves the question, for example

[The question] who, what, where, how, which, why the "idea"… Makes a difference, challenges, changes, is a differential, etc… "The practice" [which is a body of work, or book, or piece of art etc].

For example "to what extent does the concept of ['s idea] have on the understanding of ['s the practice, or body of works etc).

Or,

"What is the meaning of ['s idea]'s in the works of ['s practice]'s

Or,

In what ways does (idea) function, or convey in (practice).

Conclusion:
I need to write a short synopsis regarding my chosen question, which outlines an idea, that delivering mates whose idea it was, what it is, why it was asserted, in which context was it given, where can it be seen and applied etc how does it manifest itself etc etc of about 500 words in preparation for our next session.

Major Project (1-1 tutorial), Dr Dale Holmes 8th of October

As this year's major project tutor and guide, Dr Dale Holmes is well placed in providing studio practice guidance and mentoring as he is a successful contemporary artist of many years and brings a wealth of knowledge and teaching experience from a number of institutions.

During this phase 1 of the major project, modelling our ideas is key in order to proceed. We need to start making work straight away. We need to develop prototypes straight away. Our conversations are about ideas at the moment, but we also need to create objects such as paintings, sculptures, videos, photography etc as soon as we can in order to crystallise ideas into models. He termed to this as "concretization".

In essence what we are trying to do in this planning phase 1 stage is to articulate our ideas using different materials and mediums in addition to our ideas of representation. His advice is "do not be embarrassed" and he cited some of the work following an interview with Martin Kippenburger where he said "I'm never satisfied with a piece of art unless I'm slightly embarrassed by it".

I need to explore my drawings / painting by producing more and more with much faster outcomes. Speed is of the essence. I am labouring a little too long on creating accuracy.

The recommendation to me is to now think about how I connect all of my ideas together. I need to document and understand the process of making in my own specific case. Dr Holmes suggested that I explored my use of watercolours in order to make quick sketches in my notebooks, to investigate the relationships of objects within the frame, yet provide quick structures outside of the object in order to form the frame.

Artists recommended that I should look at would be William Kentridge, and his wonderful black-and-white charcoal sketches which explained the narrative of his ideas and political context. Another artist to explore is Michael Torsig, and his works regarding Walter Benjamin's briefcase. Equally the works of Bella Tarr, and the Turin horse, which is based on what happened after Nietzsche's breakdown, before his death, whilst he was in Turin. I have already explored the works of Bella Tarr (with reference to Nietzsche) and William Kentridge, and I understood precisely the direction in which Dr Holmes was guiding me. I do however need to explore and read the works of Michael Torsig, as this is a new piece of work that I have not yet come across.

Finally it was suggested that I read some of the philosophy by Heidegger, in particular the reference to Heidegger's hammer, in his assertion that something only exists when it is broken or not there (it's like in the moment of rejection). This is also related to the work by the philosopher Dassing who is also worth exploring.

 

The next series of works that I created, were much faster and flowing, I did not use pencil sketches as outlines, but just copied the immediate shapes by using a mixture of the base material that the garden gnome was manufactured from, that being plaster of Paris, which I mixed with a standard acrylic paint and applied to 120 g/m² Fabriano paper.

 

In conclusion, I need to speed up my painting and simply create more!

Notes from the Major Project weekly briefing, 8th October

It was highlighted today, that it is expected that we will produce three separate proposals,
1) research and development proposal which will outline what we are utilising in research terms to help us with our own projects. This is a 500 word times one A4 sheet,
2) a theory proposal, which is a synopsis of the overall theoretical dissertation, of approximately 500 words.
3) a proposal for the major project, which will discuss phase 1 planning, what and how our material investigation will cover, and how we are going to create and perform our studio work. (This is expected to be an ongoing proposal held within your blog site, and will be ongoing until the end of term at Christmas).

There are a number of events scheduled for the next few weeks which will investigate and explore how as artists we will launch ourselves into the art world. The 1st of these is a visit to Nottingham on 22 October to view the new contemporaries exhibition. This will be situated in 3 different artists studios and artists run galleries.

These artists run galleries are usually charity funded or community driven in order to rich the local community that they are based within.
On the return from Nottingham we will also visit the Yorkshire sculpture Park and investigate some of the work of Robert Ryan and his exhibition for illustration. Ideally traffic permitting, we should be back to the Huddersfield University at around 6 PM that evening.

"New Contemporaries" has been an exhibition that has been running since 1949 in order to promote the top "cream" of British fine art, and particularly emerging artists. The exhibition is now and currently funded by Bloomberg's, the banking conglomerate. All the works on show is produced from graduating artists (undergraduates) together with the context of practice.

It is worth exploring the new contemporaries website where it can be seen a number of 2015 is curators and selectors provide short interviews. For example Simon Starling, Hurvin Anderson, Jesse Flood Paddock, and Kirsty Ogg, the New Contemporaries director and curator.

A critical factor in being selected for this show is that art works's need to "the things that need to capture a moment in time" in other words the zeitgeist. This show is all about "what is happening in art now" this is often known as currency.

A key part of all art in this contemporary time is the proper recording of the whole process of creating art. Therefore top quality photography is essential, and we should get into the habit of making regular recordings.

A further source of information suggested would be to take a look at the Victoria and Albert competition for illustrators.
www.vam.AC.UK/b/Villa-2015

Research and development, one-to-one tutorial.

Having decided upon an initial object of loss, and the metaphor for loss being, in theory, a rather valueless and mass produced cheap garden ornament in the form of a garden gnome, my idea of that object having accidentally being smashed shortly after my own brothers death (which deeply shocked me at the time, and my reaction to it was to go into autopilot), I decided to brush the remnants of this ornament into a box as it had sentimental value for me.  That specific garden gnome was a wedding present from a dear friend.  Some 16 years earlier, it was given to me and my wife as a decoration amongst our wedding gifts with a rather unsubtle reference (which I can assure readers was not the case), that our wedding was perhaps a shot gun wedding!  It was a simple device, perhaps costing less than a few pounds, which was sufficient to raise a smile on many of our guests faces at the time.  Therefore it's breakage was a loss which required grief in itself of a form.

My decision a year later after the death of my brother, to come to terms with my own grief for his passing, was exercised in a metaphorical sense by rebuilding my cherished garden gnome.  In this sense, I recognise that this rebuilding is a kind of letting go, and "moving on".

Having explained this to my course tutor.  He immediately understood his own feelings and identified with a metaphorical sense of loss which we all go through, and he recalled his own feelings towards a Russell Hobbs kettle he once owned, which broke and he was unable to replace.  (In no way are these metaphors belittling or sporting with the sense, the immense sense of grief and loss of a loved one, they are both metaphors and intended to be emotionally connective however).

An area of study the time may consider is the Japanese tradition of ceramic repair by the use of gold, where broken pottery is stuck together and cracks are filled with molten gold.  This is an illusion to the idea of the value of rebirth and rebuilding and I felt that was particularly poignant. (With a little bit more research I found that this was in fact a Chinese custom rather than Japanese, but the philosophy is still the same, in that it is the gold which represents the beauty of rebuilding and rebirth).

Other areas of study could be Cornelia Parker and her investigations into materiality, such as the exploded shed.
Image relationships have been studied extensively by Raymond Pettibon another useful source.

I will work towards a re-presenting and representing the garden gnome over the next week or two.

• My enquiry is focused on "what are the grieving people focusing upon."?
• There is no need to make my work obvious!
• I recognise that I should work around the fringe of a concept, around the edges, therefore, the good gnome is a matter for.

Another suggestion which disconnects the idea of dialogue to image and action are some of the film works by Quentin Tarantino, in which the dialogue itself rarely relates to the actual action being viewed on-screen.  This slightly offsets the position of the viewer and leads them into a kind of mystery.  This idea of leaving the gate slightly open, to put the viewer into a questioning phase or state is what we are searching for.

And finally, it was suggested that I could set myself up with the right approvals and authorisations to become an artist in residence…

An artist in residence in the lost property department of the town centre bus station!  

Whilst this suggestion seems ridiculous at first pass it genuinely has some credibility with regards to "things left behind", and I should explore this.

Research and development, critique, number one

As part of my ongoing development, I need to attend regular group critiques, the purpose of which is to see where, as 'artists', we are individually thinking and situated in our development, - and to get constructive feedback from both tutors and peer students.  The intent is supportive dialogue, something that I am sure is a familiar need as any artists career progresses.  What I recognise in each of these sessions, or critiques, or crits, as they are sometimes called, is to create an environment of academic rigour.  Therefore a constructive, and indeed at times, deconstructive but not destructive approach is necessary.
As the first critique of this final year, trust me to position myself to start the session off!

With reference to the mind map that I created earlier this week and last week, in which I have attempted to create a professional and presentable artefact, I explained to the whole group my position with regards to my title of "Things left behind".
The feedback I received was very positive.  It was clearly understood by the group that I am exploring my own position of "loss and grief".

• The observations are to work the art process itself as part of my own process of understanding loss.
• There are layers to the art.  Each of these needs to connect.
• The group understands that my intent is in helping others to "let go"
• I need to do this by making work, and those works need to connect in such a way that I can ask myself, how can images, help with the loss? 
• Where is the emphasis?  And how can I narrowed down my enquiry?

I need to continue to be focused to make work, which is rigorously tested, and work out a way to understand how I can prioritise acceptance of the work by other viewers.  And finally, I need to continually ask myself what do I want to get out of each of these exercises when I approach a new piece of work.
My colleague Charlotte made a very intuitive suggestion, that I should work first from my own perspectives of loss and then apply those feelings through my work in order to get the attention of others/the viewing public.

Tutor feedback was suggested, - to systematically explore different types of loss, which fits nicely with my own intentions to do so, too.
A suggested website to review is that of the Institute of failure, by Tim Etchells, (who is part of the group.  "Forced Entertainment").  An interesting excursion!
 http://www.institute-of-failure.com/about.html

An other interesting observation was made by my professor, who said that he was "sceptical of art projects that are specifically designed as being 'useful'".  What I think is meant by this is that he is sceptical of art projects with purposes that are predefined.  He was keen to understand how I would contextualise my artworks specifically as contemporary, and I agree that I need to demonstrate first and foremost my own processes of investigating materiality.  Nevertheless, in thinking about his comments with regard to engaging with people through art, I have reflected deeply and agree with his encouragement to be more "poetic" in my approach, to "not be too literal" which has been a constant battle I have been trying to remove myself from.
Finally, his suggestion to imply a level of restraint makes absolute sense too, - as, after all, I am studying a contemporary art and illustration degree, not an art therapy or psychology degree.  Therefore, whilst my goals are no doubt laudable, it is through art that I need to focus and these secondary objectives (to satisfy my own curiosity), should remain exactly that, in being secondary objectives.

Further recommendations to look at the work of the Chirico and Tim Etchells, should assist in my quest to find open ended-ness, or in another way, 'non-obviousness'.

I recognise too, that I may not capture everybody's interest because we are talking about an area of art with its' own subjectivity.

Additionally, there are some new works suggested for me to investigate (- in the Leeds Gallery), of J.G.Ballard, or rather his daughter, who is presenting a series of works of her late father, J.G.Ballard.  This is a photography exhibition which examines the idea of fading out of images.
(The curator for the Leeds Gallery is Derek Horton and the works in question are called "and model").

Research & Development for Major Project - Planning Excercises

Now that my problem definition has been successfully navigated, my usual approach to any project is to try to understand and focus on the outcomes, - the project objectives, - and then work in a reverse kind of order of thinking, to ascertain what is needed in the shape of resources, time, costs and standards of quality to meet those objectives.

Usually, almost all projects do not have a singular goal.   It's likely that as part of this project, there will be a number of goals that emerge along the journey.  I used the metaphor of the journey regularly, and I will continue to do so as it is the easiest way to articulate the twists and turns and junctions that need to be negotiated whilst progressing.
To recap, I have already discussed the general idea of creating a hypothesis, and antithesis and finally a synthesis of my ideas.  I'm now at a stage where I can drill down much more deeply into individual steps, and break away from the traditional methods that I have been used to using for the past 30 years.  What I mean by this is, I'm now free to explore, and to give myself permission, in effect, to play.  I now realise that this is fundamental in the understanding of the phrase research through practice.

1. I have already chosen my main area of material study.  This will be painting with new media such as acrylics and other mixed substances.
2. My main area of theoretical study will link with my practice of material study and also with my studio practice.  I have already created a draft of my proposal for theoretical study which will complement the concept of things left behind.
3. And finally, my studio practice research is also taking shape now, again, which will complement the above two study points.  The rich source of objects for me to conceptualise and represent either directly or abstractly, are all to be found in "things left behind".

So onto the planning exercises.  The suggested way forward by my tutor are logical and rational exercises that I have encountered before, and so I was pleased to see some commonality in the methods used here to.

In essence, a mind map seems to be one of the favoured ways of the University and in particular the art, design and architecture school, to conduct initial brainstorming (where brainstorming is also very widely used as a planning tool).

A second exercise was to create a swot analysis, again a regular and popular tool used to tease out strengths, weaknesses, opportunities and threats.
 S.W.O.T. Analysis <a dynamic document, CLICK HERE to see it! >

And the third exercise is to create a "bucket list"...  This, I think, is similar to brainstorming, nevertheless, I have also included it here for completeness;
 Bucket List < A dynamic document, CLICK HERE to see it! >

There are many other tools that can also be used, such as a fishbone analysis for example, network or nodal analysis, and 0ST map etc.  In this instance I have not gone into such depth as I am determined to avoid any constraint on my creative thought, which may influence the concept of play.  Whilst all these tools are very useful, it is possible that my somewhat automata thinking may stifle new creative directions.

Experiments with a Roy Lichtenstein-esk style stencil...

Having created my mind map together with the following brainstorm afterwards, I was conscious that I needed to make the mind map presentable to an audience for my critiques.

Having thought about the idea of "Things Left behind" a little further, my mind was taken back to my own origin where I spent the first six years of my life in somewhat an isolated environment, in South America.  It was during this time that pop art and the whole movement of change through the 1960s was occurring.

I decided to make a subtle reference to the movement of pop art within my mind map fading away.  The motif that I chose to link the concept with memory is beginning to fade, was the decorative.patterns that Roy Lichtenstein tended to use in his comic strips and style of art work.

I spent a few hours experimenting with an idea to create a dot pattern today, by using a stencil created in Adobe illustrator and then transferred to a laser cut acetate.

By using the Adobe Illustrator suite,  I was able to create a very accurate matrix of circles of 6 mm width, with the spacing of 4 mm between each circle.  I was then able to use laser cutting technology to transfer the Adobe Illustrator diagram to create a stencil that I could reuse multiple times.  I was delighted with the results and I experimented a number of ways in order to transfer various acrylic paints and inks onto the paper substrate through the stencil.

  Using traditional ink roller techniques, my first experiments were a little hit and miss as the ink roller was far too hard to penetrate the depth of the stencil.  I therefore used other transfer mediums to deposit the ink through the stencil.

Each method had different effects, all of which have an aesthetic quality.  But ultimately, the one that I was looking for which most replicated Roy Lichtenstein's original pop art paintings was to use a soft roller brush made from expanded polyurethane foam, which are freely available from hardware shops and are sold as "gloss paint rollers".

I was delighted with the results...

Various effects can be obtained through different application techniques as follows;

Overall, when applied to my mind map presentation, I got exactly the right effect I was looking for.

Major Project - Step 1 - Problem Definition

Thinking about the challenge of finding a significant purpose of my focus, and thoughts about what my body of works will be, has led me to consider suitable "problem statements" to apply to the title "Things Left Behind".

The mind map I started last week has also helped me to steer a path towards the problem statement definition too.   In essence, whilst I have already loosely adumbrated my theme of "things left behind" being connected to loss, grief and uncertainty, I want to address this complex, yet contemporary issue that seems to be a worsening trigger for stress, deteriorating mental well-being, and ultimately illness leading to clinical depression and other serious mental disorders, prevalent in society at the moment.

This theme ties nicely into my theme title and will be my proposed subject of investigation.

So here's a first pass problem statement (it is significantly simplified, compared to a business style statement (for example, as one might write in Six Sigma methodology, which might also include details of costs, time-scales and risks); - The path I usually follow is to address the what, where, when, which, who, how;  This is where my thinking is now;

"To develop a body of artistic work  which questions how contemporary society deals with loss, grief and constant change in everyday life. This must address the need to capture the attention of viewers to induce a reflective, positive affect that engages as a contemplative and meditative aesthetic.   

 (A sub-message is intended to raise awareness of daily self induced stress, which can lead to negative well being, anxiety, mental ill-health and eventually clinical depression if not resolved.  The theme of "things left behind" is the liminal state of the final stage of grief, that being 'to let go', and hence moving on)." 

 I will present a series of contemporary paintings,  from January to April 2016, using low cost acrylic pigments on canvas with additional materials, as high quality outputs, together with video and photographic images to support my progression".

 I anticipate this will need to be reduced for brevity, but the salient points are at least captured in my mind for now.

Major Project Module - Development briefing

There are a number of considerations that I gained from today, particularly with regards to the outcomes of the major project work.  This module (The Major Project) is critical to this degree is it counts towards 60 credits out of a total of 120.  The remaining 60 is based on 20 credits for the research and development of the project, together with a 40 credit score based on the contemporary practice in context work that I will undertake this year.

In order for the University to assess its students, I recognise that the research and development element of the year is primarily required by the tutors to review student understandings.  The research and development module feeds into and informs the 'major project' in terms of current industry practice, with regards to other artists; originality; context, and also in order to be structured to test and ask questions of the students development of work.

Therefore I also recognise the importance of a Reflective Journal.  In my own case, this will predominantly be the blog material that you are reading now.  I anticipate that my reflections will develop through my ongoing research into my areas of interest, but I must also critically assess my own thoughts together with any tutor feedback or other critique that I gain from various meetings and sessions.  In other words, I will need to explain how I respond and think about the feedback that I'm getting, which, as mentioned previously, can literally be in any form.

A simple sentence to remind myself of when anybody looks at my work is;

 "what am I getting from this transaction?"

Critical to my 'major project' work is for me to innovate original propositions which are appropriate and relevant for both contemporary art and illustration.  It is important for me to address both elements in order to achieve the results not only with regards to the work, but also the results of my degree learning.  This pedagogy will be gained through exploration, and as often quoted, "is the process of autonomous self-directed learning".  I completely recognise that the universities tutors will only provide guidance.  Therefore opinions can be gleaned and modelled by my own exploration, therefore rejection of advice is perfectly acceptable if it is critically evaluated and I have deeply considered and perhaps debated it with my peers.

The time is right for me to start to adopt some of my own personal experience.

At this early stage,  I therefore need to set up a project plan, which, in Rudyard Kipling's famous poem

"I had six honest, serving men,They taught me all I knew, their names were what and why, how and when, and where and who."

In all the projects that I have managed over the last 35+ years, many of which have run into multi-million pound contracts spanning many years of development and productivity, those six honest, serving men have indeed served me very well.  I need to call on them again and develop a reasonably high level project with clearly defined phases which within them will have time bound targets and milestones.

Traditionally, in project management, phase 1 would be a "problem definition" stage.  The second stage of phase 1 would likely be to measure and then analyse the problem. Stage III of phase 1 would be to document initial results in order to create initial ideas through various methods (e.g. Sigma, Prince2, Waterfall, Rup, etc. - There is a whole raft of methodologies to choose from!!!).

In this case, a fairly sizeable part of this work will be to research initial ideas to see if anyone else has conducted similar artistic work.  This is kind of "post idea", therefore, In my mind, this is similar to a kind of Socratic dialectic model which in turn, can be assimilated with Emanuel Kant's and later, Hegel's (allegedly, but sometimes this source is challenged e.g. See "Hegel, Beiser, 2010, Routledge, London), triadic method looking for an antithesis to his hypothesis to form a synthesis.

I therefore see phase 1 is the Hypothesis phase.
Whilst this appears to conform in some ways (in that usually a hypothesis comes first, then the antithesis is used to test the initial assertion), it is indeed following the triadic dialectic to a fashion.

To continue the approach suggested by my lecturers today, it seems that phase 2, which will commence after Christmas is very similar to the industry "iterative design" phase, the difference here, to the triadic dialectic method, is to make, make, make, which is to create outcomes which are more structured in alignment with the thesis, than perhaps the very wide dialectic brainstorming activities of a full antithesis phase, in order to respond effectively and coherently to the specified problem definition, and therefore properly address the projects objectives aims and outcomes.

 It is worth mentioning here that the "antithesis" is about generating alternative ideas.  It is NOT necessarily dichotomous concepts or thoughts (i.e. those directly opposite or the polar extremes of of a thesis, e.g. Black versus White etc), which, interestingly, forms a significant factor of symptoms, leading to clinical depression. (viz. "Negative" thinking is often referred to by psychologists as "dichotomous" thinking).

Therefore I see this Phase 2 testing and making phase, in a Socratic term as the Antithesis phase.

Finally, phase 3, I believe, is what we finally need to do. In other words, our final pieces which will be submitted for the graduate show, is the "synthesise phase" activity.  (In industrial project management, this would equate to the implementation and validation and or control stage, which demonstrates the projects success in order to achieve its accomplished outcomes).

I suspect that one of my challenges will be to understand what makes my own work contemporary?  I need to make sure that I break out of an industry mindset in order to define and understand current issues that are relevant and pertinent to creative arts.  My problem definition must therefore address these artistic issues in a contemporary context and constrain itself within societal and cultural environs.

 In these terms, I am thinking particularly about a very current and significant cultural issue affecting many people.  I suspect it is a subject that has been well explored before, that being societies high levels of stress, leading to depression and mental illness.  My major project theme of "Things Left Behind" which includes existential reflection, touching upon grief, coping strategies and deep meditational "in the moment" or mindfulness thought could proove to be a good vehicle for exploration of these issues too.

Finally today, I realise that everything that I produce both in my Reflective Journal, my sketchbooks and then my artistic creations which subsequently will feed into the Graduate Gallery Show will, in fact, be part of my overall assessment.  I'm conscious therefore that I need to record everything that I do, in order to submit a very comprehensive portfolio.

Some of the bullet points I specifically listed which will be assessed are;

• Clear evidence of the intent of anaesthetic (I interpret that to mean that whether this is either beautiful or egregious is not what is being assessed. - It is the intent of the art work, and whether that objective has been met).
• I need to demonstrate technical expertise and aesthetic excellence to be both clearly interpreted and demonstrated in the work that I produce.  (My increased life drawing activity will help my spacial awareness and drawing abilities here)
• Finally, I must make sure that my presentation of all my work is appropriate within the context of the degree and, of course, must be of a very high standard. (My attention to detail will, I trust, serve me well here too).

Overall, what this year will mean to me, is a new way of thinking in order to understand the "practice based research" process, which really I interpret as meaning artistic study through exploration of trial and error via creative repetition.

Start of the final year of my BA (Hons) Degree Studies

Today marked the start of my final year of study for my degree in contemporary fine art and illustration.

I am conscious that this year my regular blogs will need to adapt in their writing style, so that I report back a clear reflection of the development of my ongoing research into the areas of interest that I would like to engage myself in, (I suspect for many years to come), but also to critically assess my thoughts together with the feedback from both tutors and other students, during critiques as we work together towards our final Gallery degree show destined for June 2016.  I am also conscious that I need to explain how I respond personally both positively and negatively about the feedback I receive from anyone, and in any form, whether it is in a formal setting, or perhaps a throw away comment in a corridor.

Whilst I have spent a fair amount of time during the summer vacation to, as it were, 'set my stall out', my overall objectives still remain the same, in that I want to immerse myself within the artistic study of a field of interest that I have entitled "Things left behind".

I believe that this title encompasses a very rich source in order for me to exercise my artistic endeavours.  As I have muted in previous paragraphs, it is likely that this field of study will engage my interest far beyond my degree course and graduation.  A major influence who has been present in my mind for much of last year, is the contemporary artist Anselm Kiefer. (See my essay at http://grahamhadfield-contemporaryfineart.blogspot.co.uk/2015/04/artist-review-anselm-kiefer-scale-and.html)   I see Kiefer's works as a wonderful example where an artist has devoted himself and his life, to the deeply moving, sensitive and intellectually absorbing relationship of national and later universal grief. (See further narrative of a Gallery visit of Kiefer's work at the Tully Museum, Carlisle - http://grahamhadfield-contemporaryfineart.blogspot.co.uk/2015/05/anselm-kiefer-exhibition-gallery-visit.html during my summer vacation.

There are a number of other contemporary artists who are also exploring this genre.  For example, the renowned Japanese photographer Ishiuchi Miyako, who has also made extensive and almost lifelong studies of the effect of national grief, as a result of the detonation of the atomic bomb at Hiroshima. (See "Things Left Behind", 2013, A Japanese film by Miyako, Ishiuchi and Monitachi, Nokosareta). The American film-maker, Linda Hoaglund has also studied these works which seek to disconnect the tragedy of the catastrophe on 6th August 1945, with  the every day lives of it's victims.

It is this disconnection from the immediate narrative, that I too, am interested in.

In my investigations, my objective is not to specifically engage directly in the subject of grief itself, but to suggest within my work the opportunity for grief to be part of the narrative that a spectator may take away, as part of their own search for meaning and explanation of my art.

It's worth pointing out, I am keen to disengage myself from an 'envelope' genre of contemporary art, which comes under the heading of "Found Objects".     I'm not interested in rubbish.  Such things are discarded, they no longer have an intentional purpose.  My body of work will explore possibilities of 'why' and 'what' that are open-ended.

My major project - "Things Left Behind" is therefore an exploration of traces.  Traces of people and traces of their existence.  Ultimately, one could say that this is what art is.  This is what drawing is.  We leave our mark.  I want to record that, just as artists have done since the cave paintings and clay sculptures left behind by the early hominids before.

Sources;

I am a member of the Association of Illustrators (Student) – Varoom - This is an excellent source of contemporary debate for commercial and artistic influences generally for Illustration.  It also provides agency assistance and commercial literature for contract definition etc...   

With regards to the contexts of Contemporary Art,  ‘current’ sources constantly explored are the internet, (e.g. Turps Banana, This is Tomorrow, Tate, / Tate shots, Google, and other general search engines).  As a mature student I have acquired a modest library of books, periodicals and literature which will also form the backbone of my research tools.  Key books I consider as vital for this year are;

The Drawing Book, (2007) Tania Kovats. 

The Primacy of Drawing, (2010) Dianne Petherbridge. Yale.

Everyday Life – (2006), Sherringham, M. Oxford University Press.

Art and Photography, 2014 (5^th Ed. 2003), David Campion, Phiadon Press.

Further key works of reference are / and will be;

Arasse, D. (2001). Anselm Kiefer. London: Thames hudson.​

Aristides, J. (2006). Classical Drawing Atelier. New York: Watson Guptill Publications.​

Aristides, J. (2011). Lessons in Classical Drawing. New York: Watson Guptill Publications.​

Collin, C., Grand, V., Benson, N., Ginsburg, J., Lazyan, M., & Weeks, M. (2012). The Psychology Book. London: Dorling Kindersley Ltd.​

Costello, D., & Vickery, J. (2007). Art, Key Contemporary Thinkers. New York: Berg Publishers, Oxford International Publishers Ltd.​

Davidson, M. (2011). Contemporary Drawing. New York: Watson Guptill Publications.​

Finger, B., & Weidemann, C. (2011). 50 Contemporary Artists You Should Know. New York: Prestel Verlag.​

Frank, F. (1973). The Zen of Seeing - Seing Drawing as Meditation. New York: Random House Inc.,.​

Lauterwein, A. (2007, 2nd Edition). Anselm Kiefer, Paul Celan - Myth, Mourning and Memory. London: Thames and Hudson.​

Petherbridge, D. (2010). The Primacy of Drawing. New Haven & London: Yale University Press.​

Sheringham, M. (2006). Everyday Life, Theories and Practices from Surrealism to the Present. Oxford: Oxford University Press.​

Update on the Mission Art Group

You may recall that I've been volunteering each Thursday afternoon as the resident artist at a nearby Christian Methodist Mission, about 12 miles away from where I live.  Earlier this year, I devised a 16 week programme of drawing lessons for the group, which have now, for the sake of just one not performed yet, are completed.

----------------------------  The Mission Art Group Programme ---------------------

Four Month lesson plan  

for the Mission Art Group, Huddersfield. 

2015 

The following basic art classes are proposed for the group, commencing at 2:00pm, each Thursday. Every-one is welcome, no previous skills necessary. Each of the sessions, of two hours overall, will be led with a half hour introduction from a tutor in each of the proposed areas.   The classes are aimed as a gentle introduction to drawing and painting, which may hopefully encourage you to take up the activity as a great hobby to enjoy.  

Week 1             16/04/2015       Trees and shrubs 

Week 2             23/04/2015       Water. Sea, lakes and rivers
Week 3             30/04/2015       Mountains and hills
-- Practice--      7/05/2015         Catch up week/ Stilllife #1 - guided practice
Week 4             14/05/2015       Animals. Farm animals, cows, horses, sheep
Week 5             21/05/2015       Animals. Pets - Dogs, cats
Week 6             28/05/2015       People. Basic Figure drawing
Week 7             4/06/2015         Architecture, - Houses, buildings, factories.
Week 8            11/06/2015        Bringing it all together… Landscapes.
-- Practice--     18/06/2015        Catch up week / Still life #2 - guided practice
Week 9            25/06/2015        Sea life, fish, crabs, seashells
Week 10           2/07/2015          Magical caricatures. Wizards, Fairies, Goblins and witches
Week 11           9/07/2015         Glass painting
Week 12         16/07/2015         Brass/ Texturerubbings
-- Practice--    23/07/2015         Catch up week / Still life #3 - guided practice
Additional Suggestions?   30/07/2015   Portraiture and faces.

Nobody will be judging or marking what you do, - Everything is encouraged. - In fact we encourage members of the group to be as creative as you want to be, and it is up to you if you wish to follow the tutors brief or work on your own pieces at each gathering. Nothing is good or bad, it is all art and everything you create is yours to keep if you wish.

-----------------------------------------

The group has moved forward really well during the last 6-8 months of my involvement, and they are generally more comfortable in "doing their own thing".  So much so in fact, that for the past few weeks they've been creating a huge "wall-paper" montage, based on their own images, abstracts and Native American style geometric patterns.  - Here are some Photos of the work in progress...

Unfortunately, it's now time for me to finish at the Mission, in order for me to concentrate on completing my third  year at university.  I've enjoyed my time here, - it's had its challenges and its joys.  But overall, I feel a great deal of satisfaction in helping some individuals get a little bit of confidence for themselves, and in helping them do something creative that they can point to and call their own work.

The results for some have been really good.  Those students who stuck at it have all developed a great deal.  I'm proud of them in many ways as it has taken courage and regular commitment to be part of this group, and I sincerely thank them for letting me be part of it through the six months or so.