I had a zoom session with my tutor for her feedback. Overall feedback gives me confidence that I am grasping the work. Strong points are that I am good at analysing and synthesising key theoretical terms and “very good” at unpacking complex texts in turn. Material research and engagement with materials and processes are acknowledged – that of using imprints, tracing and mapping. The three works made using ink and impressing was seen as mature and much more enquiring than the assignment work, which I agree, is to representational of walks/place, and not really explorative. My tutor sees here a development in my work where I have taken on many more creative risks, but I need to see the work as explorative and not a finished thing.
I need to work on: “Try to remain in the work rather than step outside” something that happens when doing the assignment — almost as if I move out of my explorative ‘zone’ of working. I understand the concern, but see my battle to interpret an ‘assignment’ as a seperate work, as well as showing work that connects with moment rather than scene. I understand the idea is to work within the act of walking. My tutor suggest that the strenght may be in something more instinctive and explorative; like mark making, rule setting, documents form socially engaging with something or someone to help mark time, or to mark site through a more embodied action.
Shortcomings I feel I am aware of after our discussion: I realise my tutor is still not completely happy with how I respond on the work done through part 4. I realize that I find it difficult to respond to many of the with the questions in the exercise by making physical work which shows connections to my art practice. I attempted to respond with work, which also links to my parallel project. by using my daily drawings. My tutor commended that she could see that I am exploring your own making through trace and mapping and have written coherently around Deleuze and Guittari. She would like to see how this can be considered further i my making. ( “Good, this links so well theoretically so how can this be considered further in your making? The making research really can grow from this point as it is starting to make much more sense as a viewer.”). I ma not sure that I really ‘get’ to this in my work I presented in the next part, Part Five, Transformation.
Formal Feedback summary:
- My tutor feels that the fact that I could discern my practice as the act of walking and documenting the landscape which surrounds me was a type of turning point for bring theory and practice together.
- She suggests that I take more time to draw and paint within the act of walking as wat you are representing is the view of something from my walk.
- An here she suggests that the strength may take me to working more instinctively, like mark making, rule setting, documents from socially engaging with something of someone to help mark time, mark site through more embodied action.
- My tutor suggest i look at work of Hanne Darboven who marked time and Rebecca Horn who modified her body to explore the equilibrium between time and the body.
- She asks me to consider all my senses and why I choose grids in mapping journeys. Important to ask myself why.
- Material research is starting by looking at imprinting.
- Questions to consider is how marks correlate with my thinking and how. I can also consider use of darker or lighter marks.
- I want to work around embodied walks – about the experience, can look into use off video making?.
- I am also encouraged to look at how the cut outs started to come into my practice and how it connect with imprinting in my making.
Looking at the feedback based on Learning Outcomes I want to put down the main points under the headings in the formative feedback from my tutor:
Identify relevant and appropriate sources of information and application to the visual and textual analysis of art
My strong points to analyse and synthesise key theoretical terms and unpacking complex texts helps that my tutor states that I achieved a ‘very competent and clear understanding’ of all tasks set in assignment 4
Critically evaluate, analyse and synthesise appropriate critical and theoretical texts in the context of studio practice
My tutor commends hard work in this outcome and see sees a correlation in terms of place, space and bodily presence. She suggest I work at drawing and painting within the act of walking and suggest looking at two artists I mentioned above. I have really learnt so much from their practices and felt especially connected to the work of Hanne Darboven – I realize my own ‘wandering’ way of working – I can be all over the show and battle to focus on one place at a time. Walking gives me a space of feeling grounded from where I can explore the many questions and ideas.
Demonstrate a range of research skills, methodologies and understanding of the relevant forms and modes of information, including textual and electronic.
Imprinting is seen as a good research of materials, and I should write more about my cut outs and how it connect with impriting.
Demonstrate an appropriate understanding and application of theoretical and critical research methodologies to the analysis and evaluation of areas of art practice and practical work.
The exploration through trace and mappings and writing about Deleuze and Guattari is a good space. Where you remove the chain, link fence the work becomes much more curious and wider reaching in my viewing. “How else can you explore the process of Take Kwon’s ideas around deterritorialized space, perhaps using the body in some way. ” I think I understand that I have to take more creative risks
Critically analyse the relationship of practical work to theoretical study through a body of work.
At least it is starting to connect and the action points my tutor showed out should help me to develop and sustain my practice. I should continue to unpack:
- Walking
- Repetition
- imprinting
- embodied drawing through my thinking
- look at work as explorative and not a finished thing