Tutor Report – Assignment 5

Tutor report

Student name Mike Bayliss Student number 512828
Course/Module CIP Assignment number 5

Overall Comments

The The connection wasn’t the best in terms of audio but we had a good discussion round the practical works and how you would show them and present them for assessment.

The work has moved forwards in terms of thematic and techniques and you have a good awareness of the contexts of your works but often this does not come to the fore in terms of your writing, so use this time to progress this aspect of the course in order to underpin your practice more rigorously.

You have extended your materials and mediums and taken risks. Where you work with the immediacy and energy of the mark is where your strength lies and where your enjoyment shows, as it does in your exploration of the subject matter, which has led you to successful outocmes.

Consider carefully how these paintings can work together- consider pairings /tryptch/series etc especially for the smaller works- you can also produce a ‘map’ of how the works should be collated and shown for assessment.

The notes back from the tutorial are scant (as you note yourself) but I am happy that we had a fulsome discussion and that you can see the needs that must be met.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Student Notes:

Michele spoke mainly about the weakness in the essay and the need for greater critical reflection, the need to analyse the work more, the purpose, what ideas are being expressed, what happened in the making etc. Also, when quoting artworks or artists i need to apply this more in relation to my own work, maybe in terms of style, colour, or intention etc.

There is the need to go a bit deeper and be more explicit in the writing. I was aware of the weakness in the work and was waiting for this critique to be steered further in the right direction. I need to send in another draft version for review before the final version goes to assessment.

We spoke on about the range and quantity of work to hand in and I have a clearer understanding of what is required for completing the course and the assessment process.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Keep experimenting within them. Your colour/material/medium choices

could be tested more thoroughly.

Learning Logs or Blogs/Critical essays

Context

The reflective writing has improved over the course and you are becoming more observational in your perceptions. Think about how contemporary artists may relate to your own growing practice, what they may bring to you, try to articulate this. Look back over past comments to guide you. This is critical now.

Suggested reading/viewing

Context

Inside the White Cube- Brian O Doherty…a book for now and the future

Pointers for the next assignment

Read very carefully the assessment criteria at the back of the handbook, look online at the OCA site for guidance, then begin to review your selection – make sure you have worked on areas that have been outlined to you thus far. Be careful in your selection, it is better to have the right number of good works than water down the overall selection by including less strong / accomplished pieces. Once your selection is made I will be happy to view via email/blog and comment.

Tutor name Michele Whiting

Date December 21st 2017

 

Advertisements

Tutor Report – Assignment 4

Tutor report

Student name Mike Bayliss Student number 512828
Course/Module CIP Assignment number 4
Tutorial type Skype/ghangout

Overall Comments

There have been some exciting steps forwards for you particularly with the figure images, as we have discussed. Overall a good hand in with some work to resolve before the next assignment completion.

Good steps forward- consider pushing the figure works further and thinking about how you may present the body of work- what works as series, singles and so on.

The limited palette is working harder and is more secure- look at the palettes of other artists who work in this more measured way- such as Euan Uglow for example(also for brush work).

Consider scale and possibilities of using scale to your advantage. Small as much as larger works need to be intended by the artist. Extend and work on your 2000 statement

Assessment potential

I understand your aim is to go for the Painting * Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to succeed at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

NOTES FROM TUTORIAL – ASSIGNMENT 4

The tutorial was, overall, encouraging while discussing some strengths and weaknesses with the current work.

Michele spoke about some of the earlier practical work and compared with images 65 and 68, which, while still not fully resolved were thought to be more interesting, particularly image 65, which I was aware of. There is a greater sense of of depth and distinction between foreground and background even though the image is still quite abstract. In future painting, regardless of the theme or content, I want to exploit the nature of the medium more to greater effect. Maybe a better analogy would be that of a very good musician, who, because he has great knowledge and skill with his instrument can play almost anything.

We spoke briefly about image 77 which wasn’t working as well as image 65, also in relation to images 82 and 83 and the potential of following through with more of these figure images, also looking at Gerhard Richter’s work as a source of interest. I had already thought about doing a series of figure images, working on a small scale based on some of the observations in London and we discussed this as potentially a way forward, thinking about producing a body of work through assignments 5 and 6 and on to the final assessment. Michele spoke about envisioning the work in an exhibition space and so considering scale, how to group, hang etc. – this is quite helpful.

Michele suggested going back over the research, textural work of the assignments and rewriting sections that required more depth and more of an independent viewpoint and a connect with the practical work. We also spoke about continuing work on the artist’s statement, thinking about everything that needs to be considered in making a full statement of up to a few thousand words.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Begin to collate your sketchbooks now ready for assessment.

Learning Logs or Blogs/Critical essays

Context

Work back to enrich your research where we have discussed and improve on the depth of the writing- making explicit things that -at the moment- may be implicit.

Suggested reading/viewing

Context

Playing to the Gallery by Grayson Perry

And for the bookshelf- Shone R, and Stonard J. The Books that Shaped Art History. (Thames and Hudson).

Pointers for the next assignment

This is beginning to play out through your brush work and more considered palette. Keep working with this uppermost in your mind as it is starting to give solid rewards. The contexts that you are drawing on are fine but keep in mind the more global artists, which is why I point back to Richter- particularly in relation to brush work… This is important to consider as you begin to consider a body of work- At times there can be a distance between what you are reading and reflecting upon and what you are doing in studio- I can see the assimilation happening but you need to be more explicit about it- sometimes you assume that the reader will just know what you mean- rather than demonstrating your good knowledge. This needs careful drafting for the next assignment- expanding into the concerns of your work, contexts and inspirations. If you are unclear please email me and we can work through it.

Enrich your research and continue the good work! Well done!!

Michele Whiting

31st August 2017

Tutor Report – Assignment 3

Tutor report

Student name Mike Bayliss Student number 512828
Course/Module CIP Assignment number 3

Overall Comments

The student notes from our extensive tutorial were very scant- and I waited to see if anymore were forthcoming, before completing this document but none arrived. If you find that you need to clarify anything, because of these notes, please email me and we will go from there.

You really engaged with working outside of the frame in architectural space and the assignment was overall successful, this is due in part to the documentation of the work and process , which is both clear and confident.

The research that you undertook around the city, documenting other ways of painting/making artworks was focused and because of this a sort of typology began to emerge, which points towards some further work …

We have agreed that for the next hand in you will send some samples of work and a detailed description of the processes undertaken.

You have some clear ways forward with your paintings that you explained to me, and I am happy for you to evolve these works as we discussed.

A first draft of your artist statement will be needed at the next hand in.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Student Notes:

I didn’t really get very far taking notes but from what I remember:

1. Keep up the exploratory work in the sketchbooks & use as a source to draw from for new work.

2. Exploring some imagery from sketchbook for next assignment. Experimental work will be relatively small or manageable to send by post & final pieces to be worked up to larger scale.

3. Experiment with media & materials, i.e. Linen, maybe aluminium sheet. Consider hard/soft areas & edges, opaque & semi opaque areas, texture etc.

Tutor- As this assignment develops you may find that you have new ideas and arguments to include in your assignment, and that you are modifying or improving on your position, this is normal and the important thing to do, is to note take, reflect and keep relevant.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity

Keep going in the way that you are, keep experimenting and reflecting on these experiments-as it is opening up pathways and insights for you.

Learning Logs or Blogs/Critical essays

Context

Begin the process of writing your artist statement. Try to really consider now the link between conceptual frameworks and your practice, and also aim to articulate your understanding of theoretical models from which your key concepts and drivers come from. If in doubt where to start why not mind-map or use a spider diagram to help you. In this way you will devise an outline plan that will be useful in writing the statement

Suggested reading/viewing

Context

Yi Fu Tuan – both texts -Space and Place and Topophilia. These have resonance with your work, and interests, if you can get hold of them and read them, I think that they might well help inform your perspectives.

Pointers for the next assignment

Keep the evaluative writing going, aim to look at what you are saying critically. Is there more than one side of the argument or view? Be critical, be reflective especially about yourself, your own views and experiences.

Look at the OCA websites and try to gain some peer interaction with your work.

Michele Whiting

2nd May 2017

Tutor Report – Assignment 2

Tutor report

Student name Mike Bayliss Student number 512828
Course/Module CIP Assignment number 2

Overall Comments

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

Student notes.

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.

Sketchbooks

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

Context

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.

Suggested reading/viewing

Context

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.

Michele Whiting

21st Dec 2017

Tutor Report – Assignment 1

Student name Mike Bayliss Student number 512828
Course/Module CIP Painting2 Assignment number 1

Overall Comments

A good start to the course Mike, you have taken a thorough look at the epochs and precursors and begun to experiment with some good outcomes.

You have found the balance of research to practice difficult but this will ease with time and having spoken over Skype, now you will hopefully gain a better balance.

Keep focused and work to enrich your textual and experimental research- this is not a broad exercise but a deeper view.

Assessment potential (after Assignment 1)

Feedback on assignments and exercises
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
This is a good first hand in, you have grasped the reality of research and practice and have assimilated what you are finding out into ways of working and this is impressive, because of this there are some good outcomes which we have spoken about.

Try making a series of small testers that play with back ground and foreground colour and techniques, don’t make ‘finished’ works each time but instead push your colour research and medium research to the max, reflect on what you are finding out.

Try to loosen up and explore the subject matter rather than trying to ‘make a picture’, the outcome will happen anyway if you let it. Try making quick interpretations of a subject, this will also help you to loosen up, a minute, five minutes, ten minutes and so on.

Overall, there is depth, feeling and emotion and care in your work, I am very pleased that you have worked so intensively and with good outcomes showing development, experimentation and establishing techniques for your future work.

Don’t aim to re-write art history, rather take an overview and focus on two or three examples.

Aim to make more expansive notes of the Skype tutorial next time for your records. These are scant at present.

Sketchbooks

Demonstration of technical and Visual Skills, Demonstration of Creativity
I know in the scope of this course that sketchbook can become less prioritized but it is important as a means to explore developing ideas and methods. If you are working loosely that is fine as long as you have a thought through collation towards the end of the course.

Learning Logs or Blogs/Critical essays

Context
You are building your contextual and historical references; aim to collate them into a useable format- this will help you in the long run. Also you can consider building a bibliography as you find textual references. If you make a start now, it will stand you in good stead. Look at the OCA site for reference help and guidance, if you have any trouble email me and I will do my best to help. It is a good idea to add an annotation underneath each reference so that you know why it has been of interest to you.

Below is a chart that might help you to see how reflective writing can be structured- this should help with time and organization… so to explain: If you take the first step as Initial Experience- this might be looking at your own work or the works of others, then describe it clearly- the next step is to describe your initial reactions… and so on- this is a good method for the reflective texts that this course requires.

Suggested reading/viewing

Context
Foster H, et al (2004) Art since 1900: Modernism, Antimodernism, Postmodernism, Thames and Hudson

Pointers for the next assignment

Continue your research – the on-line work is good, but try to flesh this out with reading texts. Scholargoogle.com is a good source if you use keywords to search.
 
Mike’s notes.

  • Contact Lia Harness for student help/support.
  • We spoke, or Tutor Michele did, about discussing different points of view in the Timeline or on a movement, artist etc if I come across them. Or express my own point of view or analysis if it differs from the view of others.
  • Leave time for critical analysis of experiments & finished work. Reflect & learn from the failures as well as successful pieces. It’s useful to keep photo reference of the process – development of ideas if the final work gets thrown in the bin.
  • It’s useful to have the Assessment Criteria to hand or nearby to avoid straying off course from Course objectives.
  • Michele spoke of possibly approaching experiments through a theme i.e, I am going to take the theme of ….
  • With experimental work pay more attention to the process, showing various phases of development, what techniques, materials, grounds etc. I’m using.
  • Same for sketch book work – more experimentation, exploration of ideas.
  • Michele mentioned that textural work was generally OK but need to pay attention when using quotes from artist’s or others, referencing specific works, exhibitions etc. that adequate foot notes are added.
  • When visiting museums & galleries, as well as paying attention to guide notes, P. 15 in Course Handbook, consider the theme, movement, artist in general terms & writing a few paragraphs on this, go into more detail describing one or two works, & take what I have learnt or find interesting back into the studio for possible further exploration.
  • Recommendation: Check out the book, Summers of Discontent – Purpose of the Arts Today, Raymond Tallis & Julian Spalding, Wilmington Square Books.