SLG (fire station)
Tutorial with Lois Rowe – Day 2
Hypnotic Repetition
Art project questioning reoccurrence and ritual as a distraction to the uncertainties of tomorrow.
Tutorial with Lois Rowe, Matt and Betty
Learning Centre – 10-12.30
I presented my work as the third person, after Matt and Betty.
Following a brief outline of my ideas, we started to discuss the essence of my conceptual framework and supporting thinking.
It become apparent that all recipients were fascinated by my stories and observations from my travels. The outcome of this tutorial has reinforced previous suggestions by Jonathan to include a background narrative, which gives an insight into my relationship with my models and their story.
Lois was extremely helpful and guided me carefully until I was in a position to refine my plans for the final exhibition. The vital questions remain unchanged:
What is my work all about?
What am I trying to communicate?
What is the element of questioning in my work?
How am I using the visual language in order to communicate complex ideas?
Finally, including self in the research process.
I am very grateful for that. I need to focus more on the holistic use of my language in the final exhibition.
The tutorial was recorded by Betty and I am waiting for a copy of this file.
Thanks to Betty, I have pasted a link to sound recordings of all three tutorials. My session is last.
Cyanotype Workshop – Day 1
This year’s Low Res programme started with a cyanotype workshop run by Matt from the British Library.
Following an introduction to the process and a range of discussions of possibilities, we proceeded with practical experimentation. Most participants collaged photocopies on acetate of sources from the British Library. With Jonathan’s help, I managed to download and print two copies of my paintings.
During the coating stage, my intention was to contradict smoothness and eve was of the chemical film on the surface. I wanted to achieve a more uncertain and unpredictable effect. I used sponge brushes in a spontaneous and dynamic way, trying to create a layered and broken effect.
Unfortunately, the light from the strip lights was powerful enough to begin exposing the paper before it had a chance to dry. I resulted to aiding this process with a hair dryer and protected the pieces from further damage by storing them in a black plastic bag.
Subsequently, after exposing my work in UV light boxes for 15 to 20 minutes, the results have exceeded my expectations. The work is mysterious and has poetic and spiritual resemblances.
I will definitely experiment further with this images to refine them further using a digital process, perhaps even moving image trials and animations.
Low Res Preparation
I am really excited to be able to take part in the second Low Res at Camberwell College of Art, London. I have already made bookings for the train journey, hotel stay and a visit to the Whitechapel Gallery.
The incinerate looks very good and covers a range of tutorial, workshops, gallery visits and presentations. All these events will make a substantial contribution to the overall learning process. Group discussions and interactive learning will help me to prepare myself better for the final exhibition in June and July 2020.
I am really looking to exchanging ideas with my piers and benefiting from working in a stimulating, dynamic and diverse studio environment.
There is also a number of planned visits to contemporary galleries, exhibitions and talks.
I will be also very nice to catch up with everyone on the course.
I need to return at the end on Thursday in order to return to work the following morning.
Low Res – Final Day Visits
Low Res – Experimental Printmaking 2
Low Res – Experimental Printing
I have really enjoyed etching a piece of Lino with caustic soda and immersed myself in printmaking experimentation.
Low Res Tutorial Presentations
Tutor: Andrew Fairley
10.00 – 13.00 in the main studio.
Individual presentations in a group of 4 students and tutor.
I presented a prepared earlier mid-year review video. This was supported by a background commentary to enhance the overall level of understanding of my creative intentions. The piece is designed to start with a black screen to communicate ideas of waiting and anticipation with a note of controversy. This is followed by a recording of a group of art students waiting in their studio environment for an inspiration. They are all saturated in boredom and appear to be almost hypnotised by this stagnant state.
The next part of the presentation included a stop frame animation of a survey of my students depicting their most precious dreams, aspirations and desires.
The final part of the video was made of a collage of still and moving images of my recent work and experiments, which I have developed so far.
The response from group was generally positive and supportive. I was asked a number of exploratory questions about the context of my research journey and experimentation. We have had an in-depth discussion trying to analyse the concept of my project and discuss a number of possible alternative directions.
My key reflections are as follows:
- waiting is counterproductive
- waiting can mean wishing your life away
- personal perceptions of time differ and depend on circumstances
- waiting frequently occurs because of external pressures
- my work is developed simultaneously. Individual pieces are metaphorically and physically waiting for the next stage of the creative process. This is recorded by a photo below:
- I discussed my reflections on Samuel Beckett’s “Waiting for Godot”. It was also recommended for me to read his other novel titled “End Game”.
My rough notes taken during the tutorial are below:
Low Res Visits – Tower Hamlets & Camden. Day 3
It was an extremely busy day spent exploring a range of hard to find galleries. The exhibition spaces were mainly dedicated to digital, Hi-Tec, interactive art and media projections.
The first experience was an introduction to an art community and their developing ceramic studio located at Rochester Square 1. This is an ongoing project of transformation of a derelict garden centre into a space for celebrating art as well as a physical ceramic workshop, which is opened to the public.
The next visit was a viewing of digital prints by Aaron Sheer at the Annka Kultys Gallery. He manipulates compositions of onscreen software windows to create bizzare overlays of individual virtual collages. These are either printed as screens or developed further towards large scale digital painitngs.
I was particularly impressed by an exhibition in a brand new arebyte Gallery located relatively close to the London City airport. The exhibition was titled Re – Figure – Ground. The work on display was a visual appraisal of issues affecting our lives and existence in the context of the contemporary world, ranging from obesity and loneliness to self image and human interaction. I had a lot of fun exploring a new to me type of VR experience within the context of fine art communication.
A collage of photo-observations from the day.
Low Res Visits – Southwark – Peckham & Camberwell. Day 2
The tour was initiated by the viewing of David Troostwyk’s exhibition at the Camberwell Space at the college. Following a briefing and an introduction by the curator, we had a chance to explore and investigate individual pieces on display.
We have also walked through Camberwell and viewed two additional galleries: Assembly Point and Picnic Gallery, which is a part of South London Gallery.
The day was inspirational. I especially enjoyed talking to two young performance artists. Both have just completed their MFA courses, at the Royal Academy and Goldsmiths. The essence of their work was to create an art making community on a mattress of the floor in the middle of the gallery. This unique spaces formed countless opportunities for reflections and discussions with guests and visitors.
Low Res Work – Slides
Low Res – Rinsing Ink
HYPNOTIC REPETITION 