Reflexivity in Practice
I am now into my 4th week. I was comfortable with today’s hangout for the first time from a tech perspective, which was good for me. Last week I felt like Alice falling down the rabbit warren. Confused and overwhelmed, struggling to understand what was going on around me. Some things made sense, a lot didnt. I don’t think Julian Stallabrass’s Contemporary History helped. That said, I know something is happening, so I need to be not quite so demanding of myself, and accept that this is a long and exciting journey, and I have only just left the departure lounge.
On Friday I decided to revisit the Visual Enquiry questionnaire. As a master practitioner of NLP, I am well aware that it is possible to shift thought processes in a short space of time. Rereading my answers, I could sense that my plane had already taken off. Some answers appeared naive, after only three weeks. I could see I was already in a different place. I am already aware of artists, curators, art critics, historians and the context in which they are working, that three weeks ago I hadn’t even heard of. I am gaining a greater understand of what is happening around me, and whilst still confused, still waiting for the penny to drop, my progress is tangible and with that comes an element of ‘not having to hold my breath for quite so long’.
I am so pleased I am on this journey. Exciting to see what the next three weeks will bring. Hopefully I will have caught up by then and my work will be starting to flow.
Reserched Kiefer’s work. My daughters are keen to see his work. I had never heard of him. I can really relate to some of his work. Organic, textural, in muted tones. I have pinned some work from 1974. It is interesting to see how his work has developed. We will be going to his exhibiton next month in London. It will be interesting to see what influence he has on my work.
Todd Henry http://www.accidentalcreative.com/mindset/why-does-criticism-sting/ says ‘It’s often not the circumstances we learn from, but our response to them. Identifying limiting narratives or patterns of self-destruction can help us spot them when they crop up, then nip them before they cause us to implode or obsess needlessly over critique.’
He suggested ‘see if you can identify why that feedback elicited such a strong response in you. Is it possible that there is some defining story that’s affecting your engagement?’
‘Don’t allow limiting narratives to run your life and rule your work.’ Sound advice.
I started reading Emily’s Drawing and Painting People many years ago, promising to return when I had more time. That time is now.
It was also interesting to learn that John Skinner painted the front cover of her book, which in turn set me off to research John’s work http://www.pinterest.com/susanmilleruk/john-skinner/
I feel I am like a sponge at the moment, poised to march off purposefully in a new direction with my work. Confused but certain that I am internally processing all that I read and see.
As part of that process, and in part because Angela thinks quite highly of Emily, and because attending Emily’s regular classes was my plan B, i am working through the exercises in her book.
A simple mark making and responding task for 6 images. Should have been A1, but mine are 20×20 cms, because I am feeling more comfortable with small (what is that saying!).
A simple exercise, so why do I find the results so unsatisfactory? Colour choice? Placement? Overall structure? Chosen marks?
I will revisit Albert Irvin, Cecily Brown, John Skinner, Ivor Hitchens, Bruce McClean to see if I can better understand.
Again, simple, draw by touch.
This exercise was more satisfying. No outcome expectation? No decisions to be made?
A friend of a friend was telling me how he passed out from the overwhelming red in a piece of music by Ravel. Debussy has a similar effect on him.
I wondered whether listening to music that moved him so deeply would have any impact on me. The above work was created with Ravel in the background.
Too early to comment.
Stot love the boldness of his work and ries of Art by James Elkins
What an interesting read. A lesson in how to look dynamically with fresh eyes. Unpretentious, clear and hugely informative.
Rose Wylie, a favourite of Angela and Emily Ball. Not sure I understand her. The Tate Shot gave an insight, but I need to research her influences, her story. I know I would really enjoy meeting her. Fascinating lady. http://www.pinterest.com/susanmilleruk/rose-wylie/
Roanna Wells, what a gem. Extraordinarily beautiful textile work.
Albert Irvin, just love his uncompromising use of colour.
Amrita Sher-Gil, mentioned by Elkins. Extraordinary women, successfully combining Eastern and Western cultures. I wonder what she would have achieved if she hadn’t died at 28.
Maurice Utrillo , contemporary of Sher-Gil. Classic Parisian feel to his street scenes, but of more interest for me, was his self-taught mother Suzanne Valadon, whose bold portraits and floral images I found more exciting.
Norman Ackroyd’s etchings are so atmospheric. The BBC3 programme What Do Artists Do All Day? was such a pleasure. I hadn’t appreciated the process. Extraordinary.
Shani Rhys-James, another What.. programme. Such a priviledge to watch the artists at work and to follow their process and the development of their ideas. Her portraits are bold and uncompromising.