I have thoroughly enjoyed an exciting and broad-ranging research journey during the first part of the course. All my creative experiences and activities have been thoroughly recorded in my blog and, to date, I have published 169 posts. In order to give a structure to this ongoing document, I have organised all entries using the following key categories: critical analysis, reflection and experimentation. The others covered methods of visualisation, gathering of primary sources, viewing of exhibitions, reflection on tutorials.
1. Project Proposal:
A written proposal approximately 1500 words describing your personal project. This should include your objectives rationale, time management plan, and the area of research that will inform your creative practice.
All drafts and the final version are available on my blog. Details are listed under Learning Objective 1.
2. Practice based research:
Completed work, test pieces, experiments, material samples, visual and material research, technical logs, sketchbooks, notebooks etc. all presented on your blog.
There is a wealth of entries on my blog providing detailed records of my broad-ranging exploration with a wide range of media, materials, processes and techniques. All posts are tagged and organised using key themes, such as painting, photography, experimentation, video, etc.
3. Reflective journal:
To be submitted in the form of a blog. Reflective notes on the development of your project, documentations, your thoughts, critical comments and analysis, response to lectures/exhibitions/work in progress/other reference materials and relevant events.
The philosophy, which underpins my project is based of critical analysis of my own practice and the supporting contextual and theoretical framework. This process is also supported by systematic and ongoing reflective and evaluative practice. Subsequently, due to the rigour in my approach, I was able to methodically introduce a substantial range of quality developments, refinements and enhancements to my creative thinking and the overall visual research journey.
4. A formal research submission:
A written research paper contextualising your work, approximately 3000-4000 words.
Final version of my research statement is available on my blog. This document is supported by numerous scans of earlier draft versions with reflective notes and thorough evidence of the development of my submission. Additionally, there is also proof of my brainstorming and the entire research journey.
Learning Outcome 1:
“Formulate, describe and implement a challenging and self-directed programme of study, relating to your Project Proposal (research; subject knowledge; communication and presentation; professional and personal development).”
THE PROCESS OF DEVELOPMENT OF MY PROJECT PROPOSAL.
The formulation of my proposal was a complex and slowly evolving process. I have experimented with a broad range of ideas and discussed several alternatives through risk-taking, experimentation and media manipulations. These experiences were evaluated, critically analysed and refined through deep ongoing reflections and regular progress reviews. I used brainstorming, maps and diagrams to visualise my journey. Subsequently, I was able to implement a range of quality improvements and conceptual modifications in order to increase and develop the sophistication of my project proposal and the overall visualisation. Therefore, my research focus and the element of questioning have also gradually refined and changed.
Stage 1 – Personal Statement.
I have created this document as a consequence of my first research expedition to Haiti.
It was a relatively short yet succinct piece of writing. It poetically summarised my visual and research interests. I supported my statement with range of reflections, discussions and images, which were organised on Adobe Spark and embedded into my blog.
Stage 2 – The Initial Research Proposal contained an outline of my research area and identified a number of possible research problems. Additionally, my thinking was supported by a developing conceptual and contextual framework. I was able to isolate several elements of learning from my references and apply this knowledge into my own practice. I placed the main emphasis of my investigation on critical analysis of both my project and its creative intentions. I really wanted to achieve that deeper understanding of the meaning of my practice and was conscious of its impact on the overall success of my visual investigation.
Stage 3 – The draft version of the Project Proposal was supported by a number of developments. I included scans of numerous notes, and adjustments at the bottom of this blog entry to evidence the thinking (Draft 1 and Draft 2). This evidence is an authentic record of my reflection and thought processes.
Stage 4 – The final version of the Project Proposal was ultimately refined and developed. This document included a number of alterations, which occurred in response to my research findings in Myanmar, Cambodia and Thailand. The list of bibliography contains a range of important sources, which had a substantial impact on my critical and theoretical. awareness. I have finally managed to compose a clear research question and a focus on what is the true essence of the intended visual communication process.
In addition to the main list of bibliography, I have also updated an additional page, which contains further items and references.
My visual research was broad ranging and developmental. I have experimented with numerous primary sources, which I gathered during my expeditions to Haiti, Georgia, Azerbaijan, Myanmar, Cambodia and Thailand.
I visited several exhibitions and recorded my research findings in my blog.
The key methods of visual experimentation included painting, photography, digital and video work.
To enhance my personal and professional development, I have tried to improve my online presence. I have created digital portfolios on Instagram, Behance and Zealous.co platforms.
I was chosen by Art 23 Gallery to perform during a life painting competition at the Old Biscuit Factory in London. Additionally, Average Art National Magazine selected my work to be published for three consecutive months: June, July and August 2019.
I entered a number of my pieces into several national and international competition via the Zealous.co platform.
Critically engage with practice-based research and contribute actively to debate and discussion (analysis; technical competence; experimentation; collaborative and/or independent professional working).
Critical analysis of the meaning of my own work has been the main driver of all my practical experimentations and developments. Through a continuous strive to develop a deep understanding of what I am trying to communicate, I have introduced several quality improvements to increase the sophistication of my artistic expression. I have tried to achieve this through systematic questioning of my creative intentions and reflection ‘in’ and ‘on’ action in order to methodically evaluate my work, identify possibilities and discuss alternatives. I have experimented with a wide array of media, materials, techniques and processes, while developing technical competence and extending my contextual awareness.
Critical analysis, reflection and experimentation have all become the most important parts of my research journey, as evidenced by the number of blog posts in these categories.
The rigour of the above process was further enhanced through comprehensive brainstorming and progress mapping. Using these powerful techniques, I was able to develop a greater consciousness of my research journey and refine my thinking in response to ‘happy accidents’ and the overall experimental experience.
The key vehicle for engagement has been my blog since the beginning of the course. This evidence was also extended by my ever-growing online presence, including the previously mentioned portfolios on Instagram, Behance and Zealous platforms.
My work was published for three consecutive months, June, July and August by a national art magazine titled Average Art. I have received a fair amount of recognition through this unexpected success.
I have submitted work to a broad range of national and international competitions. In April 2019, my project was selected to be exhibited in London at the Old Biscuit Factory in Bermondsey. I was asked to paint live in front of an audience . The organiser of the event was a well-established gallery called Art 23.
My piece called “Burmese Captain” will be exhibited at Art 23at the Old Biscuit Factory in Bermondsey. The Private View is on Friday, 22nd November 2019. This work addresses the concept of hypnotic repetition, which is a survival mechanism for everyday life.
All my entries have been thoroughly documented by posts in the following category:
My blog enjoyed 453 views in 2018 and 810 in 2019. The majority of visitors this year were from the UK and also from 33 other countries, including the USA, Monaco, India, Germany, Thailand and others.
My collaboration was additionally evidenced through my participation in the following:
- Introductory symposium and presentations of own practice. We were asked to deliver an online presentation detailing our research interests and current visual experimentation.
- Active participation in mid-year reviews. The essence of this undertaking was to create a 5 minute video, which captures key developments of the project. Additionally, we were required to provide written commentaries for other students in the group. I carefully studied all video submissions online and provided detailed feedback to my colleagues including an outline of possibilities for consideration
- ongoing reflections in my blog, including evaluative commentaries tutorials.
- I have maximised benefits of exhibiting my work in progress through participation in all pop-up shows. I have also submitted work to be displayed at the Two Girls Gallery and Interim Final Show at Camberwell College.
- Online interaction with London-based lectures and activities through watching YouTube video recordings published on ‘MA Fine Art Digital’ and ‘useful talks’ playlists.
- My continuous contributions to weekly Skype chat sessions as evidenced by my entries online.
A very important part of my professional development was enriched through my participation in Low Residency Year 1. This experience is thoroughly recorded and evaluated on my blog.
The evidence includes preparation for and participation in a wide variety of activities, such as group projects, tutorials, reviews, printmaking workshop and gallery visits. I have already secured accommodation in readiness for this programme in year 2.
Critically reflect upon your practice and articulate a clear understanding of methodology and context of your creative practice (analysis; research; communication and presentation).
I have organised all evidence and details of my reading, research, planning and preparation for the development and refinement of my research statement.
I have attempted to formulate a research question in a context, which directly relates to my creative practice. I have further developed my understanding of uncertainty, ambiguity and imprecision. This knowledge, has in turn, allowed me to experiment with machine interventions and a powerful method of degrading and eroding images.
This document includes the following information:
- Structure of the paper and the overall research intentions
- Planning for and refinements of my research question
- Establishing a solid theoretical and contextual framework.
- Brain-storming and the formulation of the title.
- Reflection on the impact of two research paper tutorials with Gareth Polmeer.
- Developing of the research paper.
- The Principle of Uncertainty by Heisenberg (1927)
- Theory of Knowledge by Russell (1926)
- The impact of Humes’s philosophy on the Theory of Knowledge by Kant.
- Critical Analysis of “Barca Nostra (Our Boat)” by Büchel, 2016.
- Critical Analysis of “How It Is?” by Miroslaw Balka (2008)
- Conclusions, which reinforce the discussion my research findings
- List of bibliography and references
- Final submission of my research paper
The overall research experience was substantially enhanced by my primary source gathering expeditions. The contextual framework was also extended through numerous visits to key galleries in London, Georgia, Azerbaijan, Thailand, Myanmar and Cambodia.
A comprehensive record of all these learning experiences is organised in the following category
I have tried to develop a clear methodology through continuous analytical and reflective practices, supported by action research in my studio.
I have gone a long way through a comprehensive process of self-appraisal, development and professional refinement. My creative practice has matured and benefited from continuous stimulation brought about by reflections and experiences gained during the first part of this excellent course. I am looking forward to learning to experiment with ideas and discussing alternatives on a much broader front, while studying on the second year and preparing for the ultimate final exhibition at the end of the programme.
I have become more intrigued and curious by the ongoing visual and intellectual enquires and feel ready to continue to expand and develop while embracing the forthcoming challenges.