|Student name||Mike Bayliss||Student number||512828|
This was a very positive degree of experimentation and critical appraisal going on, and clear advancements made in practice, through comprehending art’s history. You have the ability to observe and then experiment which is critical to advancing practice. The subject matter is rich and follows a natural interest, which will help you to keep moving forwards.
Feedback on assignments and exercises
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
The time was spent looking at & critiquing the practical work produced in project 2 & covering sketchbook work.
• INITIAL SKETCH STUDIES: The advice was to keep working loosely & keep a good spread of work. There was a good range of different mark making approaches but some of the sketches were veering toward being just decorative & were not so interesting. I find this a helpful way to work – these five/ten minute sketches – it opens the door for further exploration & ideas.
• PHOTOSHOP MANIPULATIONS: It was interesting to add the dimension of colour to the sketches & i could see possibilities for further development in other media. One image more successful than the others, less busy, more subtle colour & sense of being in a real space.
• CHARCOAL SKETCHES: Images 16,17 & 19 working better than some of the others. There is the need sometimes to go away from the work & come back with fresh eyes & reflect what’s working & what isn’t & edit accordingly.
• MONO PRINTS: Michele mentioned about exploring the possibility of doing a series of work with this technique, considering size & format, also thinking about different kinds of mark making when working big or small.
• COLOUR STUDIES: Again, with the colour work, there is the need to step back & reflect on what’s happening, as some of the elements are working well, others not so much. Michele spoke of doing a set of investigations & smaller testers with various mediums & materials. She mentioned one or two artists, the materials they use & their methods of constructing & hanging their work.
We spoke about working on a larger scale & the possibilities that could open up. Also, the interest thats often in sketchbook work, needs to find it’s outlet in more complete works. For me, I am concerned about keeping the freshness or openness thats often in the drawing or initial stages of painting that can be lost with overworking the paint. I hope to apply the comments of the critique to the next few assignments.
Demonstration of technical and Visual Skills, Demonstration of Creativity
Keep experimenting in the way that you are- use the mark making to inform the larger works and pay attention to ‘how’ you keep the vitality of the smaller experiments within the larger works.
Learning Logs or Blogs/Critical essays
The reflective writing is good. As an experiment for yourself- try write notes about the process as you are working- use rough paper- almost like jotting down a dream before you are fully awake. Just respond to what you are doing- don’t overthink it. When you have finished the piece that you are working on- collate the notes and read them back- try to see what insights this may bring you. I think you might be surprised!
The blog is becoming richer with some good insights- the observation about difference between thinking in Modernism and Postmodernism is a good example. You are also accessing valuable sites- such as Yale and obviously gaining good ground knowledge through this. Well done.
I couldn’t see on your blog but did you read Raymond Tallis at all? I’m not sure of availability in your region- can you advise me on this aspect- so that I can make alternative suggestions if not.
John Berger on You Tube- Ways of Seeing. This is such a seminal book (from the 70’s) but more than pertinent today- great footage on you tube of Berger/ways of seeing and Marxism- and as he has just passed on, a timely review of his work.
Also another text of his- The Shape of the Pocket.
Pointers for the next assignment.
21st Dec 2017