December 2014 – susanmilleruk

Week 15

Pecha Kucha

The task is to prepare 20 slides, each to be shown for 20 seconds, on ideas or texts that excite me and drive my enquiry forward. It could be where I live, philosophical, images.

Thoughts on this task dovetail into my big question. What is it that actually inspires me? What is my process?

I want to understand the process of other artists and how they articulate the answer to this question?

What I currently do isn’t a process, which as I understand it is akin to a formulaic approach to producing work. Yet the more I think about it, researching on YouTube, the more overwhelmed I am becoming. So many ideas, stimuli, directions. Not enough time. Focus!

Richard Diebenkorn

Youtube https://www.youtube.com/watch?v=W7gObLxwd2k

Diebenkorn – Known and Unknown presented by Timothy Anglin Burgard, Ednah Root curator in charge of American Art at the Fine Arts Museum, San Fransisco, Sept 2013, focusing on the Berkley Years 1953-1966. Seeking to gain insight into Diebenkorn’s process during this period. His movement from abstraction to figuration and back. His extraction of the feel rather than the actuality of the landscape. His referencing of influences, Bayeaux Tapistry postcards to Berkley series.

Direction

Moving the idea of Fracture, Form, Frame forward, I am considering the story telling, photo collage using family photos, montages with random historic images. Also still thinking about the use of stitch and texture.

Art Rules and How to Break Them

Received this really interesting Christmas present that directs you through various types of art including collage, photo art, found objects and surrealism, artists, influences. Discovered Robert Motherwell and Robert Rauschenberg

Robert Rauschenberg

Robert Rauschenberg , Harbor

Harbour

YouTube interviews exploring his ideas, some insight into his methods of working and collages, and who he influenced. Widely held to be a major figure in the important New York art scene of the 1970/80s. Barbaralee Diamonstein-Spielvogel interviews Rauschenberg and Leo Castelli, who was a pivotal figure in the NY art scene at that time https://www.youtube.com/watch?v=8E0K2er-K5c

Robert Motherwell

transistoradio: 
Robert Motherwell (1915-1991), Figure with Blots (1943), oil, ink, crayon, and pasted paper and Japanese paper on paperboard. Via Abstract Critical.

Robert Motherwell (1915-1991), Figure with Blots (1943), oil, ink, crayon, and pasted paper and Japanese paper on paperboard.

A summary of his life and works from Area of Design http://www.areaofdesign.com/americanicons/motherwell.htm

This video combines the haunting music of ‘Ne Chantez Pas La Mort’ by Léo Ferré with Motherwell’s Spanish themed images tottps://www.youtube.com/watch?v=r2r6wHnyQcw I am reminded of Terry Frost’s work with Lorca’s poems.

Motherwell in his studio https://www.youtube.com/watch?v=NA0k4WVIabI and working on the 118th version of https://www.youtube.com/watch?v=yi56BczdiEs

Robert Motherwell Elegy to the Spanish Republic 1961, New York School

Elegy to the Spanish Republic 1961

These videos led to a Melvyn Bragg 1992 LWT documentary with Roy Lichtenstein. This interview did show Lichtenstein’s process of extracting comic book cartoons, blowing then up by projecting onto canvas, which he then drew in pencil, later making minor adjustments before painting the drawn image. The enlarged print pixels were painted by an assistant and collaged onto the canvas.

Pecha Kucha

For something so simple, What influences my work?, has proved to be a serious task of reflection and distillation. The presentation is complete and I feel genuinely reflects where I am today.

https://docs.google.com/presentation/d/1uXovRjC9khGNa_rKCpAI9otYZ3kJ9PE6t4m4k3Ja-rY/pub?start=false&loop=false&delayms=20000

It will be interesting to revisit in a year’s time.

What did it say to me and about me? I am in a period of transition from a known, and comfortable starting point, into the unknown. That my attitude towards myself, and therefore my work, has changed without any apparent new ideas, processes or voice being demonstrated. That new is becoming familiar, that my world is becoming physically so much smaller, but mentally I have the world within my grasp.

Has the penny dropped yet? No. Tumultuous images, ideas, thoughts, to do, are tumbling in my head, with no access to the rest of my body. Until there is balance, until I am grounded there can be no whole. A new year tomorrow. As good a time to start as any.

Juliette Losq

I spotted this artist whilst researching for the PPP task. She was short listed for the John Moore’s painting Prize and paints in ink and occasionally watercolour. A modern take on the Victorian approach to watercolour. Very clever.

http://www.saatchigallery.com/artists/juliette_losq_articles.htm

Personal Practice Plan

The first stage of my plan is to enter respected Open exhibitions:

thenationalopenartcompetition.com Chichester
mallgalleries.org.uk Royal Institute of Painters in Watercolour, London
royalacademy.org.uk London
museum.maidstone.gov.uk Bentlif Open, Maidstone
lynnpainterstainersprize.org.uk www.ParkerHarris.co.uk Mall Galleries, London
harleygallery.co.uk Worksop, Bienniel
derwent-artprize.com
aestheticamagazine.com/artprize
parkerharris.co.uk www.dajf.org.uk Daiwa Art Prize triennial
parkerharris.co.uk ING Discerning Eye
parkerharris.co.uk Sunday Times Watercolour
parkerharris.co.uk Jerwood Visual Arts mentor programme for a year
http://www.wellsartcontemporary.co.uk/
theopenwest.org.uk
townereastbourne.org.uk
http://www.threadneedleprize.com/ Figurative/landscape ar.

Acting on my plan I entered Paradox

into the Royal Institute for Painters in Watercolour open exhibition. I was accepted in 2007 and 2008, but after a couple of years of disillusionment with the way the work was selected and treated in the process, I stopped submitting (pre online applications). Hopefully the new online application has changed all that.

Whilst looking at application info I read Will Compertz, who I respect as a critic’s review of the 2014 exhibition. https://www.royalacademy.org.uk/article/summer-exhibition-edit-will

‘I always think any artist who can transmit the power of human feeling just through the stroke of a brush is truly remarkable. And in Marlene Dumas I think we have one of the world’s finest artists.’

‘For me, he’s one of the most important artists working in the contemporary canon – certainly one of the most thoughtful.’

‘He creates extraordinary sculptural forms in photographic paper, then by photographing them returns them to the accustomed flatness of that same medium. Photography’s step from ‘picture’ to ‘object’ is best demonstrated in the works from the “Lighter” Series (2005–8).’ 1

Compertz also highlighted Georg Baselitz and his change in style.

Georg Baselitz Hon RA, In London Schritt für Schritt (In London step by step). Oil. 304 x 184 cm. Photo Jochen Littkemann, Berlin.

Poverty

Jonathan Jones writing in the Guardian today poses a good question, where are the poor in art today?

http://www.theguardian.com/artanddesign/jonathanjonesblog/2014/dec/30/art-and-poverty-where-are-poor-in-art-today?CMP=EMCNEWEML6619I2

Thought for the day.

Itchiku Kubota

I found this artist whilst searching out Kubota the performance artist of the 1960s, as part of VL4.

A Japanese textile artist who uses a 16th century process to embellish silk

http://www.thekubotacollection.com/en/artist-and-technique/how-are-kimono-made

Peter Paul Ruebens

Waldemar Januszczak introduced Rubens: An Extra Large Story on BBC2. WJ’s knowledge and enthusiasm for the Flemish baroque artist was compelling viewing.

The descent from the Cross

Not a painter or style that I am likely to be influenced by, but I do admire his technical ability and the huge body of work he appears to have produced.

1.Lauren Hinkson, Wolfgang Tillmans: Lighter 46, 2008 Guggenheim Collection.

Week 13

John Virtue, born in 1947, is an English artist who specialises in monochrome landscapes. He is honorary Professor of Fine Art at the University of Plymouth, and from 2003–2005 was the sixth Associate Artist at London’s National Gallery. He was educated at Slade. Wikipedia Mentioned by Katie Sollohub (who works with Emily Ball at Seawhites).

http://www.google.co.uk/imgres?imgurl=http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/gac/624×544/gac_gac_17850_624x544.jpg&imgrefurl=http://www.bbc.co.uk/arts/yourpaintings/artists/john-virtue&h=224&w=225&tbnid=rlrW1wmZo6nTvM:&zoom=1&tbnh=186&tbnw=186&usg=__E—nZOyfow4BGGo1mQMMNF9Nq4=&docid=tL615zMIgoex1M&itg=1&ved=0CH4Qyjc&ei=kNKOVLy0HZGv7Abr54HgBA

He sees colour as “unnecessary distraction”.^[1] He uses shellac black ink and white paint.

Haymarket Hotel, London NW1, Rupert Wright, The Times, 19 May 2007

Robert Ryman, born 1930, is an American painter identified with the movements of monochrome painting, minimalism, and conceptual art. He is best known for abstract, white-on-white paintings. He lives and works in New York. Wikipedia

From the Tate web site http://www.tate.org.uk/art/artworks/ryman-guild-t07147

‘Ryman’s work is an exploration of the fundamental elements of painting: support, paint, brushstroke and the relationship to the wall. Colour is eliminated in order to focus more clearly on these. This painting is one of a group of paintings Ryman made during 1982-3 that are constructions which incorporate fibreglass panels and aluminium brackets. Ryman used enamel paint in these works because it appears translucent when applied to fibreglass. In 1976 Ryman began to integrate external wall fasteners into the composition of his works. In ‘Guild’, the aluminium brackets are a structural part of the painting. They function as a bridge between the painting and its supporting wall, thereby expanding the visual territory of the painting to include the space in which it is shown.’

Guild https://www.google.co.uk/search?q=robert+ryman+tate&espv=2&biw=1366&bih=643&source=lnms&tbm=isch&sa=X&ei=mNOOVIyZOtLY7Aao5ICwAQ&ved=0CAYQ_AUoAQ#tbm=isch&q=bbc+robert+ryman+paintings&facrc=_&imgdii=_&imgrc=PdbyY_AAL7ARBM%253A%3BkJvP6g50enwqeM%3Bhttp%253A%252F%252Fichef.bbci.co.uk%252Farts%252Fyourpaintings%252Fimages%252Fpaintings%252Ftate%252F624x544%252Ftate_tate_t07147_10_624x544.jpg%3Bhttp%253A%252F%252Fwww.bbc.co.uk%252Farts%252Fyourpaintings%252Fartists%252Fryman-robert-b-1930%3B515%3B544

Pecha kucha

Our presentation of 20 slides each displayed for 20 seconds is to be about what inspires me. Easy. Then I started to consider that question in detail. Not so easy.

My natural inclination is to colour. Something, could be real, could be a photo, flowers, sunlight, view, shadow, person, building, pattern, but principally colour. Once I have connected with the image, play some stimulating music, rock or classical, and I can lose myself, only re-emerging when the work is speaking to me.

That was then, when I painted purely to please myself, mindful that the work would be for domestic consumption. Now I am not so sure.

What I produce will always be to please me. No commissions, no health threatening pressure. But where the work is to be seen and by whom, may be changing. If I am heading for a bigger stage, which I have to believe I am, it is after all why I am doing an MA, then where is that stage, who are those viewers? Small, domestic pieces don’t seem to fit, so what will it be, what form will it take and just what do I fill 20 slides with?

Priscillajones.wordpress.com wire sculptures with fabric paper and wax.

Guardian Readers top 10 Books of the Year

Readers' top books

Six of the best… readers’ favourites in no particular order

A Dance in the Hurricane of Paper – TED

A slow start but I stuck with it, in the belief that it wouldn’t be on TED if it wasn’t worth it. I wasn’t disappointed. Extraordinary!

Ansel Krut – 2010 Artist Interviews

Valerie Jolly – 2010 Artist Interviews

Week 12

Alice Kettle

Alice kettle is a textile artist. Thank you Monika for the introduction to her. I found this interview so inspiring. https://mail.google.com/mail/u/0/#inbox/14a2e1edd5953383?projector=1

Alice Kyteler

I spend a lot of time thinking. Thinking what am I trying to say, what do I want to be doing, how do I want to do it? After our crit of Fracture, Form, Frame I came away confused and deflated, not to mention exhausted and overwhelmed. Angela commented on my small experimental pieces, referencing shape, form, colour, scale for human analogy, which I sort of get, but equally don’t just yet, hopefully that penny will drop later.

I am so conscious of a life not spent being creative, exploring ideas, immersing myself in projects. I feel I need another lifetime to get it right, to discover me. I am just travelling on, soaking up everything in my path and hoping that the authentic me emerges.

Sharon’s comment during the crit about papermaking struck a chord. It is something I have never done but the surface I work on as a watercolour painter is so important, I feel a need to investigate. I watched a YouTube on Paper Alice to understand the basics and Japanese Paper Making to understand why Japanese paper is so special.

Alison’s painting on calico also struck a chord. For some time I have been thinking of working with muslin

having used it in a stitched piece a couple of years ago.

Monika’s link to Alice Kettle and Les Bicknell’s comment about doing what you enjoy have also reignited my interest in textiles. I think it is time to reflect on those two threads (sorry!). That said, someone, maybe Sharon or Mathew, said ‘Do something not in my skill set.’ Am I still too close to home? Is that a bad thing? In the world of work you are told to build on what you know, rather than walk away.

Gwen Hedley

Gwen Hedley

Jean Littlejohn

Jan Beaney & Jean Littlejohn: Fluency and freedom

Jean Littlejohn’s Bayeaux Window

Jan Beany

jan beany

Angela de la Cruz

Nominated for the Turner Prize in 2010, she was mentioned during the crit.

http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2010/turner-prize-2010-artists-angela-de-la-cruz

Adrian Searle writing in the Guardian in 2010. http://www.theguardian.com/artanddesign/2010/apr/05/angela-de-la-cruz

Wabi-Sabi

Mwamba mentioned this term from the Japanese (keeps popping up).

“When I let go of what I am, I become what I might be,” Lao-Tzu. http://wabisabi.org.uk/2.html

The Wiki definition http://en.wikipedia.org/wiki/Wabi-sabi :

Wabi-sabi (侘寂^?) represents a comprehensive Japanese world view or aestheticcentered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete”.^[1] It is a concept derived from the Buddhist teaching of the three marks of existence (三法印 sanbōin^?), specifically impermanence (無常 mujō^?), the other two being suffering (苦 ku^?) and emptiness or absence of self-nature(空 kū^?).

Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity), simplicity, economy, austerity, modesty, intimacy and appreciation of the ingenuous integrity of natural objects and processes.

Modern tea vessel made in the Wabi-Sabi style.

Leonard Koren writes about the expression and its history. https://www.globalonenessproject.org/library/articles/beauty-wabi-sabi?gclid=CL3R5NiBucICFUPLtAod018A3A

His article is part of the Global Oneness Project https://www.globalonenessproject.org/library?type=597

While on the site this short video about fear and love spoke to me.

https://www.globalonenessproject.org/library/interviews/other-side-fear

Not sure who mentioned Rebecca Horn, a German installation artist http://www.skny.com/artists/rebecca-horn/

Horn’s sculpture L’Estel Ferit in Barcelona, Spain. Photographed by Rosalba Casalnuovo in 2010.

Wild Weather

Watched Richard Hammond trying to weigh clouds. His thought process was interesting. The slow motion camera work on water drops was inspiring.

Jonathan Yeo

Interview Artists 2010. Jonathan is a self taught portrait painter. Who used his home’s proximity to Tate Britain, to study modern masters like Braque, Matisse, Picasso, Bomberg and Freud., eventually evolving his own style. ‘In a way portraits avoid making conceptual, philosophical or narrative statements.’

Portraiture is about trust, and following cancer, he found that sitters treated him differently, ‘as if he had gained more insight into mortality.’

He is famously know for his collages, using paper torn from porn magazines.

George Bush

Baroness Tanni Grey-Thompson DBE

Fern Britton meets on BBC1.

Born in 1969 and a wheelchair user from a very young age, she has, spearheaded the inclusion of disabled people in everyday life. Her extraordinary determination not to be defined by her disability is an inspiration to us all.

Anselm Kiefer at the RA

Anselm kiefer is a German painter and sculptor, born in 1945. He studied with Joseph Beuys and Peter Dreher during the 1970s. His works incorporate materials such as straw, ash, clay, lead, and shellac. Wikipedia

Jonathan Jones writing in the guardian about the Kiefer’s amazing exhibition at the RA. http://www.theguardian.com/artanddesign/2014/sep/22/anselm-kiefer-royal-academy-of-arts-review

I was going to review the exhibition, but I don’t have Jones’s ability to factually critique, so I will convey my emotional response.

The scale of the work is enormous. The energy, the passion, the lack of colour, the textures, the variety of medium. Kiefer has an ability to convey profound emotion. His response to the German inheritance, his response to his materials. So inspiring. I thought the lack of colour would underwhelm me, but much to my surprise, the subtlety of the palette left me free to focus on the texture, which was extraordinary.

The Orders of the Night, 1996, by Anselm Kiefer

The Orders of the Night, 1996, by Anselm Kiefer. Photograph: Seattle Art Museum

An interview with Tim Marlow in April, 2014. https://www.youtube.com/watch?v=vlm5tgistqA

Mark Brown writing in the Guardian prior to the opening of the exhibition http://www.theguardian.com/artanddesign/2014/apr/01/anselm-kiefer-royal-academy-of-arts

Rachel Cooke writing in the Observer responds to Kiefer’s work with an intelligence and sensitivity that I hope, one day, to be able to emulate http://www.theguardian.com/artanddesign/2014/sep/28/anselm-kiefer-royal-academy-review-rembembrance-amid-the-ruins

Exposition and Context

Exposition and Context is the third video lecture presented by Caroline Wright.

Question

Why do I need to make a career out of what I do?

What are my reasons for doing so?

What are my needs?

Is it the money, public recognition, people’s reaction?

What constitutes my practice?

Where am I currently positioned?

Where would I like to be in several years time?

What is my professional context?

Museums & Galleries

Researchers, public, education, a value beyond just looking, a value of learning and history. Bring the past to life and commenting on society.

Mediate art and artifacts from an original context, giving the objects a narrative and frame, catering for a particular audience, providing education and/or entertainment or a combination of both.

Can be public, state or privately owned.

National Gallery, London, structured advancement of knowledge. An impressive building, art is important, a symbol of wealth and status, housing National collection.

Tate Modern converted by Herzog Muran from old power station which has considerable international status. Evidence of commercial wealth. In the Turbine hall they showcase one international artist. More than an international collection, cafe, restaurant, member lounge, shop, an experience.

MoMA, New York built in 1939 by Philip Goodwin and Edwin Durrell Stone.

Gugenheim, New York, designed by Frank Lloyd Wright and built between 1957-59, an artwork in its own right.

Gugenheim, Bilbao, designed by Frank Gehry and opened in 1997. A symbol of wealth and status.

Louvre, Paris, houses a collection. The sumptuousness of the building and the cramped style of hanging, have painting and architecture competing for attention.

Musee d’Orsay, Paris, opened in 1900 to house the modern art collection.

Sainsbury Centre designed by Norman Foster in Norwich, to house the collection of Robert and Lisa Sainsbury. A paradigm of globalisation, brutal and functional. It is climate controlled, has an educational element, and is attached to the university of East Anglia, which runs degree courses related to the collection. There is a curatoral and directorial style associated with the works that are displayed, and the way we are able to move through the gallery.

Pitt Rivers Museum, Oxford, was designed by T N Gene and opened in1885. The museum reflects the locality and personality of Lt Gen Pitt Rivers, who created the collection.

With works of art, such as Rodin’s The Kiss, does it have power, status, are we meant to look in awe or relate on a personal level.

Consider the work, the people, the logistics of conceiving and executing a major exhibition, the marketing, the funding, the mechanics.

Beyond the Gallery

Where to exhibit work of a political nature. Viral? The web?

What about site specific work. Alison Lapper by Marc Quinn on the fourth plinth in Trafalgar Square caused considerable debate about disability, motherhood, the power of a marble sculpture.

In Aldburgh in Suffolk, Maggie Hamlin, a local artist donated a work, which initially sparked much public debate, but is now considered a landmark.

The Shell by Maggie Hamlin

What is the artist’s intention? Robert Smithson’s land art that can only really be seen from the air.

Or Andy Goldsworthy’s Icicle, which is a temporary work and can only really be seen in a photograph.

Is the documentation of the work, the work? Where does the audience come from?

Tattoos, are they a personal exhibition space?

Taking this control of the body further, Franko B’s Lover Boy

The blood dripping from the arms could be harmful. Are we voyeurs?

Anthony Gormley’s Angel of the North

dominates the A1.

Anne Bean’s 0 Degrees, represents the meridian line at Greenwich.

http://www.thegreenwichmeridian.org/tgm/articles.php?article=14

The Venice Biennale was conceived by the mayor in 1894, with each exhibition curated by a new curator, who brings their own vision.

The sponsored Frieze Art Fair in London attracted 60,000 visitors last year. It represents over 170 galleries, and is the place for curators, artists and gallerists to view the latest art developments.

The Turner Prize, set up in 1984. British artist under 50 for a range of work preceding year. It provokes debate because the winner usually challenges the general public. It i s news worthy, celebrity, with a monetary prize.

How would I quantify success? The best I can do? Prize winning? Fame? Celebrity?

Then there are the competitions. The John Moores Painting Prize, staged as part of the Liverpool Biennial. The Jerwood Drawing prize, won this year by a sound piece?

Reflect on what is right for my work and the context that produce and would want to be seen.

‘An excess of display has the effect of concealing the truth of the society that produces it, providing the viewer with an unending stream of images… detatched from the real world of things.. (we) see everything but understand nothing.’ Guy Dabord: Society of the Spectacle

Bookness

The lecture from our third visiting lecturer, Les Bicknell, was riveting. He was speaking just to me.

Les is a lecturer at Camberwell and Norwich.

(It is very difficult to continue with this blog because I spent 2.5 hours typing up my notes and researching items mentioned by Les and when I return to complete the blog it has all disappeared.)

Defining Research with Practice

What do I like doing?

Why do I make work?

What’s my work for?

What do I want from my work? Attempt to make sense of the world, strategies/planning/research/audience

What do I get from my work?

What is my work about?

Who is my audience?

Where does my work go?

What is it that I do and why?

Write a verb list of all I do and don’t do.

Research my own practice.

Workspace

Les commented that if he had to rent work space then he would feel obligated to make money from his art and that would influence his work. I can understand that.

Your work is informed by where and how you are working. Size of space, location, noise factor.

Making Connections

Use what you love in your work.

Where is the research strand?

Art history

Music – instruments / scores / collaborative

Dance – negative spaces

Writing – thinking / reading / space / sound / theories / thoughts

General history

Geography, place

Contemporary practice – methodology / sampling / sketch book / role as an artist in society Science – problem solving / lateral thinking / sharing

What is my role as an artist in society?

Contextual Framework

Social

Political

Personal

Critical/theoretical

Historical

Geographical

Institutional

Cultural

Recognise that I am changing to accommodate the course.

Influence of childhood on what you do

What is influencing me? THINK ABOUT THIS IT IS CRUCIAL.

What is the project about?

What don’t I know about?

Research has to start with my practice.

Reflective Practice

Mind mapping to get the ideas out of my head. Starting point for research.

Frank Gehry sketches. Sketch ideas.

Modelling.

Decide on what an idea should become.

Look at what exists already.

Look at the work of others.

Reflect on my initial intention.

What is it for?

Where does it go? Weatherproof, scale.

Who is it for?

Copy existing writing or art work to get a ‘feel’ for the artist.

Look at Kenneth Goldsmith, founder of ubuweb.

Kenneth Goldsmith (born 1961) is an American poet. He is the founding editor of UbuWeb, teaches Poetics and Poetic Practice at the University of Pennsylvania, and is a Senior Editor of PennSound.

Design Thinking

Define

Research

Ideation

Prototype

Choose

Implement

Learn

Linear interaction

Fluid way of thinking.

Journal

Record -thoughts / ideas / observations

Reflecting – gain an understanding

Analyse – who researching

Conclude – setting out what you have thought

At library take the book to the right of the one you want.

Notes

carry means of recording with you.

Write often

Record dates/time

Without hesitation

Even if not relevant

what happened? Why? What do I think? What should I do as a result? How do I do this?

Artists

Lateral thinking

problem solving

Material understanding

experimental investigation

research skills

Research-

testing (colour theory/perception)-

sampling (series of paintings within set of parameters)

designing (articulate/explore)

finished

Reflect – why didn’t I? Back to research.

Where to star?

Film – Mark kermode podcasts

Freakonomics.com

in our Time – Melvyn Bragg

Bibliographies- check influences

Bookness

Philosophy

When does a book end? What is it for? How do you disprove it is not a book?

Made of mirrors? Bound together? Bricks in a wall?

Order, control, power.

Role of book in relation to order, containment, knowledge.

Writers write text not books.

Is FB an episode of you.

Covers of books-roofs.

Stacking, ordering, layering

.British Library- palm leaf bindings.

David Nash sculpture

Christo’s Valley Curtain

Text on body a book, tattoo?

Pub sign read history of place.

Advertising

Hamish Fulton

Read a knotted rope

Nathalie Meibach

Role of book in relation to order, containment, knowledge.

Architecture relative to book.

Les Bicknell’s work.

Collect with no purpose.

Smocking relative to landscape.

Folding, meaning.

Categorisation research.

Pitt Rivers Oxford http://www.prm.ox.ac.uk

Work informed by Morning crepe fabric.

Change materials for a different perspective .

Diverse exhibition spaces. Libraries, foyers. Giant images. Artist info archives.

Materials that make a shift, B&Q, electrical wholesaler.

Week 10

It’s week 10 for Strictly. Watching just how far the remaining dancers have travelled makes me reflect on my journey during the last 10 weeks.

As Craig would say, your work is more directed without being confident, darling. Your creativity is evident, but you must start to believe in yourself, if you want the world to see it. Learn to let go and have fun darling.

Thank you Craig, I will work on that this week.