To review any of the projects I have undertaken, just click on the relevant link below to be given a selection of the specific projects, my reflections and the relevant commentary.
(September 2014 to December 2014)
Project 1 -
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Year 1, - 2nd Semester - Studio Practice 2
(January 2014 to May 2014);
Project 4 - De-constructing the Grand Master
Project 5 - Drawing Transformations
together with Life Drawing
Project 6 - Reading & Responding
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Year 1, - 1st Semester - Studio Practice 1
(September 2013 to December 2013);
Project 1 - Identities
Project 2 - Text & Image
Project 3 - Environment & Context & Liminal Spaces
---------------------------------------------------------------------------------------------2nd Semester - Course Brief and Details;
Project 4 - De-constructing the Grand Master
CONTEXT
Building on your experience during the
first term, this module continues to promote research and experiment
in the production of practical work.
French
philosopher Jacques
Derrida developed deconstruction as a form of semiotic analysis.
He stated "there is nothing outside the text" (Of
Grammatology, 1967), implying that all human artefacts contain the
values, hierarchies, narratives, oppositions and other ‘discourses’ necessary for us to create meaning. The role of deconstruction was in analysing these discourses to better understand the text and its
contexts.
For illustrators and contemporary
artists deconstruction is a way of finding new positions from which
to think about the world and to make work in response to it.
BRIEF
Working with a chosen historic artwork,
painting, illustration, or other cultural artefact, re-master it from
a contemporary viewpoint.
Interpret ‘historical’ as any
artwork created before you were born, and ‘contemporary viewpoint’
through any set of current cultural, artistic, political, social, or
other ideas. The original artwork should have some conceptual
connection to the deconstruction you undertake, and should inform
your re-presentation of the artwork.
Record the journey of your analysis,
research, and the transformation of the artwork stage by stage. You
may want to explore a variety of artefacts before choosing one, or
choose your artwork based on the contemporary ideas you want to
explore. You may end up with an artwork very different to the
original – the key is to re-master it in ways that help you develop
your conceptual approach to your visual language.
The process of research, re-mastering,
deconstruction and change must be documented in studio work,
notebooks and sketchbooks through drawings, notes, objects,
experiments and photographs etc. Use this evidence to construct a
chronological presentation or animation that charts the development
of your work.
RESEARCH
Visits to local galleries and archives
will provide you will the starting point for this project. This will
require you to research your chosen image exploring its original
historical, cultural and artistic reception.
This
research should inform how you deconstruct and re-master your chosen
artwork, and how you reposition your new work within today’s
contemporary culture.
Research will also be required into the
new context your work occupies, in contemporary terms; identify
present day artists and illustrators who employ a similar approach
noting how this relates to contemporary culture?
Project 5 - Drawing Transformations
CONTEXT
You will draw upon knowledge and
progress gained in Studio Practice 1 in order to extend the range of
your visual practice. While most creative practitioners use drawing
some way to generate or realise their ideas, the form this drawing
takes can vary greatly. Illustrators may see drawing as a way of
representing the world, while contemporary artists use it as a way to
help understand or convey ideas. This project encourages you to
explore drawing from the perspective of being an illustrator,
contemporary artists, or through the overlaps between the two.
BRIEF
Develop a body of work that extends the
use of drawing in your practice. Using the suggested themes of
marking, looking, imagining, recording, thinking and transforming,
and timetabled drawing sessions as a starting point, explore what
drawing might mean to you and your practice. Use this opportunity to
explore the media, contexts and applications of how you use drawing
in your practice, as well as developing new ways of working.
Think about drawing in its widest
possible sense, as a tool for visual thinking and presentation of
ideas; for plotting or documenting; or as a tool to depict, reveal,
represent or transform. Reflect on how you use drawing in your
creative thinking and the development of your work and identify ways
in which you can inform this approach through practical research.
Your body of work might explore how you
extend your understanding of drawing into new media, through using
new techniques and mark-making tools, or more conceptually as a way
of thinking about the relationship between drawing and ideas.
The project will run for the length of
the module, so see it as a regular opportunity to make work through
drawing. It is a good idea to establish regular times each week to
undertake this project, as well as reflecting on how you use drawing
in your other project work.
Reflect on your drawing experiments and
research as you go - what have they told you about your practice, has
drawing suggested new ways of making, thinking and visualising, how
can you use drawing in your other projects?
Project 6 - Reading & Responding
CONTEXT
This is the last of three projects
within the Studio Practice 2 module. It continues to draw upon
knowledge and progress gained in Studio Practice 1 in order to extend
the range of your visual practice.
Illustrators and contemporary artists
regularly use existing texts as a starting point for their work,
either as a broad response to a theme, more directly as editorial
commissions, or integrated within artist’s books or other forms of
publication.
BRIEF
Analyse, interpret and respond to a
chosen text.
Develop a body of work through a range
of media, and select and finish one of your ideas to a high visual
standard. A text can be considered any written, audio, or scripted
form of writing.
RESEARCH
For examples and starting points please
see the briefing notes as supplied by Huddersfield University
Internal web-site.
1st Semester
Project 1 - Identities
CONTEXT
This is the first of three projects in
this module, each of which runs for four weeks. The aim is to promote
an in-depth, exploratory and disciplined approach to help develop and
frame your creative practice within contemporary art and/or
illustration. You will be encouraged to draw on your existing
knowledge, to focus on exploration and experiment in both ideas and
materials, and to develop strategies for visual awareness, conceptual
thinking, and how you select appropriate methods of production. You
will be supported in developing reflective journals and sketchbooks
that document your creative process.
BRIEF
Using the idea of identities as a
starting point, develop a body of work that explores and questions
the ways in which personal identities and narratives can be depicted
in visual form.
Personal identities are complex and
multifaceted. We all project different selves in different
circumstances and have an inner sense of a self that may differ to
how others see us. Identities are used in culture in equally complex
ways to tell stories about people, explore multi-faceted aspects of
personality or relationships, group people together or provide a
shared sense of identity. Identities can equally be applied to
objects, places or ideas, which makes the idea of identities such a
rich area to explore.
Use this project to establish good
working practices in how you research a project, develop and test
ideas, and document your creative thinking. Use drawing in its widest
possible sense as part of a process of exploration and
experimentation to explore the theme. Use this opportunity to test
out new ways of thinking, visualising, documenting, and exploring
ideas through drawing, and to think about how drawing relates to your
own creative practice and process. Most of the work for this project
will be sketchbook based and should focus on your process of
generating creative ideas rather than developing final pieces of
work. At the end of four weeks you will present your sketchbooks and
other documentation for viewing, with a short evaluation reflecting
on the your approach to the project.
WHAT IS BEING LOOKING FOR:
A module portfolio of preparatory and
finished work that documents the links between research, ideas and
outcomes in response to projects.
Exploration of a range of materials,
processes and media through which ideas are tested and developed.
Evidence of visual awareness and conceptual thinking and of selecting
appropriate methods of production.
A reflective journal that begins to
establish the frameworks within which you operate as a creative
practitioner, and an understanding of ways in which artefacts are
interpreted.
LESSONS
Induction week - Group work on
identities
Week 1 - identities project /
self-directed studies
Week 2 - identities project /
self-directed studies
Week 3 - identities critique
Project 2 - Text & Image
CONTEXT
This is the second of three projects in
this module and runs for four weeks.
The aim is to promote an in-depth,
exploratory and disciplined approach to help develop and frame your
creative practice within contemporary art and/or illustration.
This is a collaborative project aimed
to encourage discussion of ideas and experimental practice, enabling
you to position yourself creatively within the context of your
peer-group.
BRIEF
Create a collaboratively produced
publication that explores the theme of dialogue in some way.
The publication should be cheap to
produce, as you will need to make enough copies for each member of
the group, two for assessment and additional copies for the group
exhibition at the end of the project. The materials, dimensions and
size of the publications are up to you, but you may want to consider
photocopying or other forms of accessible printing and binding to
reproduce your publications.
As a collaborative project you will
need to develop ideas together, identify areas that you can each work
on individually, and delegate the roles needed to design, layout and
reproduce or manufacture your publication. Collaborations are a great
way to create something that is better than the sum of its parts, but
for them to work well there needs to be a level of understanding and
trust amongst the group. It’s a good idea to think about how you
work together before you start, so have a conversation about how you
communicate, your expectations, and what needs doing, by whom, and by
when.
Dialogue suggests a conversation of
some sort, an exchange of ideas, images, or movements, or an ongoing
process of creating meaning through sharing. Dialogue can take place
between your group, draw on a wider sense of conversation within the
field of contemporary art and illustration, reference everyday
conversations, or draw on the idea of having a dialogue with an
audience. Your publication may reflect some or all of these, draw on
other ideas of dialogue and/or aim to establish a new dialogue with
your readers.
Through this project you will
creatively explore how the combination of text and image can be used
as a means to communicate ideas. You will be supported in bringing
these elements together through InDesign and other workshops and
tutorials. You may choose other methods to layout or design the
publication if you wish.
WHAT IS BEING LOOKING FOR:
A module portfolio of preparatory and
finished work that documents the links between research, ideas and
outcomes in response to projects.
Exploration of a range of materials,
processes and media through which ideas are tested and developed.
Evidence of visual awareness and conceptual thinking and of selecting
appropriate methods of production.
A reflective journal that begins to
establish the frameworks within which you operate as a creative
practitioner, and an understanding of ways in which artefacts are
interpreted.
Aspects of the project will require you
to work as a group, while other will need individual contributions.
You are required to write a group evaluation reflecting on what
you’ve learnt by working together. You may want to work on a shared
body of research, or each maintain your own sketchbooks and notes.
Assessment will take place individually at the end of the module.
Project 3 - Environment & Context - Liminal Spaces
CONTEXT
This is the last of three projects in
this module and runs for four weeks. The aim is to promote an
in-depth, exploratory and disciplined approach to help develop and
frame your creative practice within contemporary art and/or
illustration.
This project aims to consider of the
ways in which the physical context (ie, place, scale, audience) of
visual work impacts upon its reception and meaning through an
exploration of environment and context.
BRIEF
The word liminal is derived from the
Latin for threshold and describes experiences or spaces that are in
between one thing and another. Liminal spaces are the areas or
moments in which one thing becomes another through transformation, or
sits between areas to be neither one thing nor another.
During drawing week you will identify
liminal spaces around the University and document them through
drawing, photography or other means.
Using your drawings and documentation
as a starting point, explore the idea of the liminal through your
choice of media, materials, scale, or positioning of your drawings.
For the rest of the project, continue
to explore the theme of the liminal within your work. Extend your
starting points beyond the physical context of the University,
through use of scale, exploration of ideas, or by extending your
current range of media or materials.
WHAT IS BEING LOOKING FOR:
A module portfolio of preparatory and
finished work that documents the links between research, ideas and
outcomes in response to projects.
Exploration of a range of materials,
processes and media through which ideas are tested and developed.
Evidence of visual awareness and conceptual thinking and of selecting
appropriate methods of production.
A reflective journal that begins to
establish the frameworks within which you operate as a creative
practitioner, and an understanding of ways in which artefacts are
interpreted.
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