7th March 2012
This was my first tutorial since I received feedback from the last module.
We discussed how I already feel my proposal was far too confused and broad, and that my ideas have shifted; I am now much more focused on how I want to develop my work.
I talked about what I had been concentrating on since Christmas. I got off to a slow start for various reasons but getting the feedback has really given me a kick-start and helped direct my research.
I have written a list in my journal pinpointing the areas I wish to concentrate on both in research and practice. This has assisted me in being selective about the areas I choose to read. I am really enjoying the reading but am slow and struggle with the time needed to tune into the (often unfathomable) language of academic theory.
My supervisor seemed happy that I had chosen appropriate texts connecting to and underpinning my practice. She thought that I appeared more in tune with and spoke more confidently about the critical theories and how they connect to my practice and development ideas.
The practice side of things has not been very productive due to time and space/studio issues. I intend to concentrate on this in a solid block over the Easter holidays. I have continued to visit my beloved viewing areas, drawing a little but mainly recording photographically.
It was established that the most important aspect of my interest in the landscape was light, illumination and a feeling of space. Celestial vaulting, related to the work of James Turrell was an area we both felt could be further investigated.
Another artist discussed was Monet’s water lilies as I had recently seen some of his later work in Paris. My interest is in the illusion of depth in the seeming flatness of the surface. Disorientation experienced by the viewer is due to the ambiguity of what is a reflection in the water, what is floating on the surface and what is beneath the water.
Jayne questioned me about the reasons for working with the specific landscape I am exploring. After reflection I came to the conclusion that my attraction is driven by emotional responses to the drama of the environment. In particular the power of nature, which dwarfs the huge scale of the industrial sites across the river. The landscape, although more or less the same from the various viewing points, is ever changing depending on weather conditions and time of day and year, this is endlessly fascinating to me. I am also drawn to the minimalist qualities of the environment, pared down to just a faint horizon line in certain atmospheric settings.
In my attempts to capture this light and space and explain my emotional reaction to it, my practice is concerned with the blurred edge between impressionism and abstraction. Using formal elements to describe an emotional response is important to me yet I still feel a need to maintain an essence of representation.
Another area of discussion was how my works could be displayed. I know the presentation of the work will be very important to create an atmosphere and to control the experience of the viewer. One suggestion was to work small to draw the audience in to something exquisite derived from a vision that is overwhelmingly vast. Although I can appreciate this as a concept I do not feel it would connect with my style of working.
Another consideration, inspired by the work of James Turrell, was to use actual light to achieve the luminosity I am striving for. This could be an area to look into after I have produced some larger scale work, I will have to see what the pieces suggest to me. I am wary of getting bogged down with the technicalities this might involve and the possibility it would interfere with the spontaneity of the work however I keep an open mind.
This tutorial was very useful and supportive. I felt assured and more confident about what I was doing.