Gallery visualisation
As part of the proposal for the MA Fine Art Degree Show, we are expected to visualise our work within a gallery setting.
Who could have imagined that my computer animation skills would prove so useful?
Brilliant.
Visualising how I would like my degree show to look and the work I intend to display is an opportunity for me to utilise my skills in computer graphics (CG) and 3d animation. It's been about twenty years since I last used a 3d package, but hopefully, I will be able to ‘fall in’ to that space quite quickly.
I will use Blender to create a whole gallery for my work. This will take me a couple of days to model the scene and add my artwork, so that it can be adequately visualised. Is this worthwhile?
Given that the future will involve proposals and bids for work, brushing up on these skills will be a bonus. As long as I have a floor plan and height dimensions, I should be able to build a gallery setting reasonably quickly or amend existing 3d models to fit the required space.
Additionally, after reviewing online gallery packages, it becomes clear that they will be expensive and restrictive in the long term. I would rather invest two days of my time rebuilding my CG skills.
(See Documentation)
Body Casting
This was an entirely different territory, both practically and psychologically: body casting.
Collaboration. This was a necessity as well as a conscious decision. There is no way I could have achieved any results without the help of my colleague Jackie Smith.
There were many challenges and the outcome was not successful. But the process will work given them information from this dry run.
Obstacles to a favourable outcome were:
Time
Materials
Form support
Assistance
(See Documentation)
Monoprint
Working on the design for the Hierophant’s shirt.
The design process of the costume is not easy.
Symbols exist, but I’m opting for circles—just circles, which are placed intuitively.
Time is of the essence, but I think I have a window to ‘feel’ my way through this design.
Templates cut from repurposed, acetate sheets.
Druid/Shaman/Magus/Hierophant
Naming the indescribable.
Which is it, and why am I having trouble choosing a name?
Look back. When did I decide on Weyward Sisters?
Ah, yes, once it had formed and come into being. Can I apply this logic to my latest piece?
It is so difficult to name something whilst it is still forming. Giving something a name brings it into the concrete world of that which is known.
I hope this will occur naturally. I do know that it is taking shape as we speak.
But what if it doesn’t require a name yet? Let’s assume I am searching for a working title!
The contenders are:
Druid
Shaman
Magus
Magician
Sorcerer
Hierophant
Casting tests
If I need to create a full body cast, how on earth will I accomplish this?
Testing… that’s how I am going to do it. I will throw ideas and materials around and see what sticks!
So what are my thoughts, questions and considerations?
Clay versus papier mache.
PVA versus Corn starch
Yes, I can make a corn starch glue, but will it be better than PVA?
Form making - wire/foil - combine them
I will need a form to hold the shape whilst it dries/sets.
Face mask…. Sideways test.
Doing my performance mask means I already have some answers. This will push the research further.
Fay Ballard
A deeply personal experience of Mother as told by Fay Ballard.
The homeopathic nature of art. Sometimes it can feel that what we see is too close to where we are. This excellent lecture by Fay was just one of those moments.
In a vulnerable state from yesterday's critique and still processing the outcome, Fay’s lecture held up mirrors all around me.
The unspoken family tragedy.
The unearthing of the myth surrounding that lost person.
Delving into the Uncanny to discover that which is ‘of home’ and that which is not.
Detail 7: Memory Box Dead Mother, 2014.
Graphite on paper, 80 x 74 cm.
The image of a compact. I could conjure up the smell of my Mum’s compact.
I decided to decline a tutorial with Fay, as I recognised that our vulnerabilities were so close that I couldn't go there, not in such a fragile state. However, I had my personal moment with Fay when I offered in response to her circles the labyrinth in Chartres Cathedral.
Critique Challenges.
My sculptural piece is set to be reimagined!
Jo and Leo were adamant that the work should not be sculptural… it could look crude. So my sculptural piece will be reimagined. They are asking to see more of me in my work. I can understand that request.
However, I am integrating my archetypes into my work. The enigmatic nature of the content in the images I create is hard to articulate. I'm only just beginning to grasp the essence of these ‘characters’. Reading Patricia Townsend is helping to clarify some of what I am doing. (See Contexts).
A few ‘quips’ regarding my use of the mask in my work. I will need to develop my theory on why I choose to use the mask. This is my story, and they are central to the characters I am evoking. But why am I using them? Critical Reflection?
The base face mask was taken from a willing subject. Thank you, Hugo Woollam.
Dolls
Working in the style of American photographer Ralph Eugene Meatyard.
I was transfixed by Meatyard's placement of old dolls in disused buildings and strange environments. I wanted to try out this genre, if only to see if I could achieve a similar feel to my photography. I had an old doll to include in the shoot.
Living near the orchards in Kent, there are many abandoned buildings that serve as a backdrop. A few days earlier, I went on a location scouting exercise to see if the old containers at the back of the orchard were still accessible. They were ideal.
Later that weekend, I took my doll and the camera, enjoying the process of placing her into the scene. Once back in the studio, I used Lightroom Classic to grade the images and was pleased with how the photographs turned out.
In the April Critique, the images were not well received. I totally understand why. The comments ranged from creepy to clichéd and passé. It didn't worry me unduly because that was not the reason for taking the photos. For me, this was an exercise in producing an image in the style of Meatyard.
What emerged from the critique by Jo, Leo, and later in a conversation with Paul Coldwell was interesting and has my attention. It was the notion that the background alone could create the uncanny atmosphere, with the doll serving as a distraction from that image. When I have time, I would like to test this idea by taking a new set of photos as suggested. Good.
Terra Incognito
If there was ever an exhibition that reminded me of the need to keep exploring galleries, this was one of them.
This is what I can only describe as a rare gem of an exhibition: thought-provoking, accessible, and inspirational. The space—oh my goodness, the space! Situated in Thameside Studios, Woolwich.
The sheer scale and quality of light provided the perfect backdrop for a finely curated selection of work by the Whatshesaid Collective of artists.
Thameside Studios.
But what of the art? I hadn’t expected to respond to the work quite this way. I disappeared into visceral thoughts of end-of-life care and the transitory state that it evoked.
Mathilde Lebreton. Terra 2, 2024. Mixed media on jute.97x147cm.
Floating in front of a panel of Earth’s rich hues: deep amber, dark violet blues punctuated with vibrant orange points of light. Pausing to reflect on what lies beneath this highly charged surface.
Ann Norfield. Offshore Loss, 2024.Composite relief print.
I was challenged by the precarious crossings of inhospitable waters in a fragile piece of rubber, staring squarely into the face of trust and hope.
Claire Mont Smith. Bridge of Sighs. 2024. Screenprint monotype.
Happily lost, I wandered through the ethereal, melancholic alleyways of Venice, contemplating the mapping of human existence through layers of material inhabitation.
It was well worth the trip and a joy to see.
April Critique
It's all about trying to get what's in my head onto the wall in a way that allows me to discuss my ideas.
This was my opportunity to present my Hierophant sketches. I propose creating a companion piece to Weyward Sisters.
The mask this time will be a half mask. This allows my Hierophant to show off his facial hair effectively.
Quick sketches to develop the design. The original inspiration for the look of this piece comes from the Glasgow Boys, George Henry (1858–1943) and Edward Atkinson Hornel (1864–1933) Druids - Bringing down the Mistletoe. This sketch illustrates the colour range from that painting.
However, the final design is an amalgamation of those bright reds and oranges, using them as the lining for the cape. This time, the chemise will carry emblems from Celtic art as well as personal symbols adopted by the Hierophant.
I also discussed creating a fabric-sculpted piece to embody the internal sorceress. This piece was a direct response to a sculpture I had found in Cawdor Castle, Nairnshire. This sparked a brainstorming session about my idea and what I was trying to convey. (See Documentation - Bodycasting)
Photoshop Skills
From raw image to final print.
How do I take the background out?
Taking the footage from the performance shoot and attempting to mat the image onto a different background.
In the film industry, the technique I was looking for would have been called ‘difference matting’. I’ve asked around the technicians at college, but this seems to be a gap in the knowledge of most. So I shall just have to find it. The good thing is knowing what I want it to do; that helps in searching through online material.
So here’s how I do it. It’s all in the mask attached to an image and the use of ‘Apply Image’ in the alpha channel. (See Documentation for further details)
Performance
Hiring a small studio outside of college to do a green screen shoot. I wanted to shoot a video and capture some still images for my ethereal photos.
Today was shoot day.
Collaborating with Charles Woollam as my photographer was a no-brainer.
As a photographer, I trusted his skills with the camera, and technically, we had discussed how to achieve the look I wanted.
I had studied the Hextantz dance by Mary Wigman and understood what I hoped to achieve in the studio shoot. I embodied the entire image of a Wayward Sister for this performance.
The four-hour shoot began with setting up lights and backgrounds. I am accustomed to studio sets, but I’ve never had to work with the technical aspects of lighting. This took up too much time. In the end, it was a case of working with what we had.
My shoot script included headshots and portraits. That was no longer an option as time was tight.
A small stopper filter was used on the camera, and long exposure was the mode of capture. Francesca Woodman’s photography highlights much of what I hoped to achieve. However, at the time of this shoot, I had only glanced at her images in passing. It’s only in retrospect that I can see we were chasing the same quality of images. ( see Documentation)
Art and Magic
An online lecture series provided by Treadwells esoteric bookshop, London.
Episode 1 of this series.
Considering that my practice encompasses the esoteric and mystical, this series could assist me in discovering context within contemporary art.
Organised by Treadwells bookshop. Episode 1
In conversation with Jamie Sutcliffe and Dr Ann Hale.
Connecting via Zoom was a great idea. It aligns well with my college work, as the group meets on a Sunday evening once a month. I’m interested in hearing what will be discussed.
The event featured a simple conversation format. It was evident that Ann and Jamie had much in common and were aware of each other's practices.
I felt slightly left behind by much of what they said; the conversation was rapid and covered various topics, including magic, esoteric practice, game space, and Artificial Intelligence.
I believe I will soon catch up with this series, once I have familiarised myself with the language, subjects, and ideas.
I have subscribed to the following few lectures in this series.
Challenging doubt
"The wound is where the light enters you," Rumi.
Today was a long-overdue catch-up with my friend and fellow artist/printmaker Marigold. The early morning in the orchards of Kent provides the perfect space for walking and reflecting on each other’s journeys.
I have found it essential during this MA to maintain a connection with friends like Marigold. This week has been about reconnecting with my core people: yesterday with Sally and Sunday with Nicola. How fortunate I am to be surrounded by printmakers, art historians, and artisan cabinetmakers! Each brings something to the table, but the commonality among them is their support for my journey.
Today, my conversation with Marigold was a genuine exchange about how we perceive ourselves in the world of art. In many respects, we were merely realigning our positions regarding our practice and considering where we fit or do not fit. Recognising the benefits of living in Kent and the price we pay for distance from the London art scene emerged. Would Jung have me down as an introverted extrovert? Probably!
Then, there is the matter of the internal and unending inner critic. Speaking for myself (it would be unethical to report on Marigold's position), I have decided that the internal voice that constantly broadcasts my failures should be given some perspective. Recognising this as a wound that can never be healed, much like the centaur Chiron experienced, was the only way to make peace with that voice. Too much energy can be wasted on it, but accepting and letting go is a potential way forward.
We discussed the age-old theme of being a mature student emerging in the later years of practice. What room is there in the world for me? I asked.
I don’t have the luxury of a long career ahead of me. Pessimistic? Yes, but I like to think realistically. We discussed my envy for my younger contemporaries and how they seem to respond to the current art world, emerging rather than exploding onto the scene. You see, I think I will indeed explode. Not in a bad way, but if I have a finite amount of time, I will use it to the best of my ability and take what I can from my studies.
In conclusion, I haven’t answered the question of where I fit in the art world. Until it becomes clear, I will hand the problem upstairs to management and trust in the process of this course and ultimately, in the synchronicity of life.
Road trip to Rye
Sewing. I love to sew. So, a trip to Rye to gather fabrics and to have a day out with Sally was just the ticket. But all was not as it seemed!
This was supposed to be a straightforward car journey to the local town of Rye, down the country lanes of Kent.
Sally has been a significant part of my support network throughout this course. As an art historian and homeopath, we have travelled miles together, sharing common ideas and frameworks about the mind, body, and spirit, as well as a love of art. Sally is my gallery companion.
Usually, the conversation flows easily, but today I found it challenging. Not because of anything related to the conversation, but due to the way my brain was working. I couldn't string the sentences together.
There had been an awful lot going on at college; struggling to print varnish, critiques and the London Original Print Fair—lots to discuss. I need to take a couple of days off to relax.
If I needed an external metaphor for my internal state, this was it. I have travelled along these roads for about 35 years, but today I got myself lost. I couldn't work out where I was, where I was going, and I had no idea how I was going to get there. I literally had to pull over and check with maps to see my journey.
Sally commented, “I hope you are going to write this up in your journal?”
Original Print Fair
This is the first time I have visited the London Original Print Fair. Oh my goodness, was I surprised! What an amazing collection of work and access to the individual galleries! My brain hurts.
A few of my favourite images from the fair.
Discovering Maite Cascon's work was important. I managed to speak with Maite, and I have a few questions, but this fair is not the place to talk in depth. She has agreed to let me interview her.
I also managed to speak with Dario Illari from Jealous studios… he was so helpful on the subject of printing with varnish as an overlay!!
Critique with Paul Coldwell
Never a dull moment when meeting with Paul Coldwell. Challenging, inspiring and at times frustrating!
This was a learning curve for sure. I learned that showing work that was not current had the capacity to derail the meeting completely. However, it’s very hard to communicate how intense this journey has been without reference to the early coursework, most of which I hate. The Polaroids of my haunting are enough. They shall remain. I may go back to them, but not in the way I have been.
Q. What artists influence you? I need to clarify this a bit more. I think I will create a dinner party and invite all those from whom I draw my inspiration.
‘An artist works to intensify an image so that the viewer has the best experience of what it is they are trying to say. Sometimes (?!) the artist thinks they have it…. But they don’t. Other times the artist misses what they had, which the viewer reacts to and engages with.’
Ectoplasm…. Conan Doyle…. Houdini
I felt challenged. Paul began to talk about Victorian spiritualist meetings and how they were theatrical setups, imagined. I then realised that he wasn’t on board with the supernatural, and I had to emphasise that this was not imagined… This was real… my haunting. I think that threw him slightly, as he carefully modified his speech. But this is what my reflective piece will be on… navigating the supernatural in an age that is reductionist.
I I felt childlike in this moment, like a child who has come downstairs because they have seen a ghost, only to be sent back upstairs because it’s not real. Well, that’s a powerful revelation!
But this is all before I said stop. This is what I want you to look at. When I showed the ‘Weyward Sisters,’ he was visibly taken aback. This is it. You have it. All an artist can hope to achieve is to show one image that will remain in the mind of the viewer. This is it. Keep going. Stay with them.
Look at Polish puppeteers. I mentioned Jan Svenmier, the animator.
Think about examining the Stanley Kubrick archives.
Look at Edvard Munch… He deals with death.
I’m exhausted. I’m going to revise my gallery and organise my drawers, showing only what is relevant to people. Lesson learned.
Remi Rana-Allen
Artist lecture with Remi Rana-Allen.
Brilliant.
This was an informative, in-depth talk focusing on a personal story developed into an art practise.
Remi discussed the family history of her great aunt, who was the first woman to be sentenced to death in Kenya.
With arts funding, Rana-Allen visited Nairobi three times to search the records and to fill in the narrative of her family. Even down to the old photographs, she identified the trees and hills to locate her great aunt.
This was encouraging and refreshing, and the work she used to narrate this story was compelling.
Printing the invisible
…continuing to explore printing varnish on my digital prints.
Testing all the ways I can think of to combine thin paper, digital image and clear varnish.
It is so difficult to see unless its a bold block of medium.
I am testing this on an offcut of the Weyward Sisters print. The paper is porous. It isn't easy. The usual method is to apply a clear coat of varnish to the print through a screen. However, because of the paper’s porosity, it’s simply soaking in.
I've tried several versions of this varnish, but it’s just not happening.
Test of three different varnishes
Tony and Pete have been really helpful and offered suggestions. Ultimately, what would normally happen here is that the image underneath would have been made with screen-printed ink. This would have created a barrier between the image and the top varnish. A great example of this is in the Cristea Roberts Gallery. It's difficult to show, but there is a layer of varnish in dots all over the image.
I have pursued this technique for probably three studio days, and to be honest, I’ve given up. The technique is interesting, but it’s not what I want to do with my image.
N.B.
At the London Original Print fair, I found another example of this technique at Jealous’ stand. Given that I was perplexed by my results, I spoke with owner Dario Illari about how they had produced it. The image underneath was on Somerset paper, so surely that was porous too.
Dario thought about it and then gave me the answer. To get a porous print to accept varnish, apply a window block of varnish to the back of the image and let it dry. Then, you can print the varnish through your screen onto the front. Thank you, Dario. I will have to test this in the studio when I have a moment. It would be good to understand the concept, even if I feel the application is unnecessary here.
Examining the samples in this post, as I write up the platform, I can see that there is merit in this technique. I think the high frequency of my black-and-white background, together with the delicate image of the sisters, is just not helpful. I’m intrigued; I think I will return to
Towner Gallery
Visiting this exhibition with art historian, Dr. Sally Beazley Long. I love these visits. It helps to walk around and discuss images with someone who also has a passion for art.
Drawing the unspeakable.
In a nutshell, a fantastic collection of thought-provoking works.
It was not a light, entertaining display of images, and there were moments when I felt uncomfortable with what I was seeing.
My reaction to this image was that of a voyeur. I felt as though I was one of the persecutors, watching and waiting for the information gained from this interrogation. It was very uncomfortable to be in that position. Powerful.
Pain. Pure and simple pain.
The ominous size of that shadow!
The narrative between David Dimbleby and his daughter Lisa provided a brilliant visual and informative device to thread a path through the works. I will remember this for my show….
By the time we left the exhibition, we were exhausted.
The content did not sit lightly in this exhibition. Experiencing the human condition in such a way was a challenge. But worthwhile nonetheless.
