Crit Feedback

Yesterday as a continuation of the lecture Tom Rodgers gave on Tuesday, artist and curator Emma Bolland and Judit Bodor came in to give a talk about their own work, as well as the current collaboration (with Rodgers) exhibition Milky Way You Will Hear Me Call in the College Gallery.
They talked about the work they do in terms of curating, creating and collaborating, a considerable amount of which I found to be fairly contradictory, but hey, I guess that's artists for you.

Afterwards, Emma and Tom came into the Fine Art room to talk to some of us about our project work and ideas, then gave the opportunity to offer feedback and constructive criticism.
I wanted to speak to them as I found their words and work to be relevant to my own ideologies; both Emma and Tom could see the links between my intentions and their current work.
I was suggested things like:

• clear out my desk/ wall- it's currently inhabited by a lot of previous project work, so by cleaning and sorting things out, it would allow me to see more clearly the current work I am progressing with, rather than becoming sidetracked from non important material. It again gives the opportunity to see my work as a collective, to see the cohesion and intertextuality between the pieces and to be able to view what works and where it is weaker, etc.
• "take your work for a walk"- this was an idea to get me out of my 'domestic' box that I appear to have put myself into; Emma said to literally move and work in different places as I could become potentially domesticated into the idea of working in one particular place or manner- to remove myself from familiar environments that would allow me to concentrate deeper into the FMP work. Secondly, it was suggested to pick up ideas, for example taking my work to the park: the connoted link between photographs of a child within the park environment, to take new photographs and explore the potential and ideas to come from it. By using old photographs in a new place and time, it seems to explore the links and juxtapositions in a well rounded manner.

These were both helpful comments, something I can carry out and experiment with ease. Initially I was a bit dubious to have my work critiqued by practising artists as I feared my work would be instantly slated, but in hindsight it was extremely helpful. If anything, it allowed me to look a little more 'outside the box', to be horrifically cliched.

FINISHED Statement Of Intent.

Section One- Your Final Major Project

The title of my Final Major Project collection is “These Faded Memories”. Within this project I am aiming towards producing a body of work that evolves around the ideas of deterioration of existence and the ideas of memory that are interlinked. I am hoping to create a realised, final installation piece that contextualises the domestic environment and our individual understanding and relationships with these places. Ideologies from my work during the Pathway Stage shall be carried further into the final project; the idea of personal empathy towards individual experiences of the past and our own memories of childhood through photographic documentation and the ephemera that surrounds it. A key element within my project is also the idea that my memories are my own; the audience takes their own view, understanding and perspective, whilst I know truth amongst the unknown, but it is an identity I do not wish to share. Interpretation and connotation are the basis of significance that surrounds this body of work.

Section Two- Influences, Research, Sources and Ideas

Artists and photographers that work with the ideas of identity, memory and existence have been the main influence for the ideas of my final project; Christian Boltanski, Richard Billingham and Thomas Rodgers are key to the links between produced work, and my own ideas and intentions. I have however also looked into contextual theories such as those of Sigmund Freud and Ilya Kabakov; Freud’s work into the theory of the uncanny is directly relatable to the work throughout this project. I also plan to visit locations such as IKEA, show homes and neighbour/relatives homes to collect imagery of the domestic environment; past and present.

Section Three- Techniques, Processes, and Timescale

My intention throughout this project is to utilise found objects, to experiment with their own history and contextual concept within my work. The idea that using the readymade from my own life and childhood, already creates an idea of the pieces becoming ephemera, juxtaposing with the impression of the permanence of a photograph. I also plan to experiment into the editing of photographs which is a crucial part of the idea of fading within the memory, alongside framing and adding to the indication of a homely, domestic feel. The timescale reflects a realistic, set out plan within six weeks to achieve the greatest input and output of work.

Section Four- Method of Evaluation

Analysis of the Final Major Project shall come from the reviews during group critiques as well as any other given opinions which I shall record in my sketchbooks. I will look into the analysis of the overall aesthetic, as well as individual aspects of the work(s) in terms of technique, composition, framing, and spatial awareness within the exhibition. Throughout the project I intend to take photographs and annotate the current successes and failures within each phase of the timescale, in order to relate back to the referenced work of both artists and contextual theories. This proposal will help with my overall review of the project and from here will be able to determine success and articulate the areas in which could be improved upon.

Research- Graham (NB someone got a little deep here...)

Paul Graham is a Photographer I only heard of through Tom yesterday in his lecture.. Therefore felt it necessary to take a cheeky look at his works. Whilst I can enjoy his images aesthetically, I don't particularly understand them. However I don't feel that you need to necessarily understand an image to appreciate it.

I asked Tom if I could have a copy of the lecture Graham gave in 2009, that he was reading from yesterday. Again, I don't feel I understand Photography in general to entertain some of the ideologies Graham has written about, but key phrases hit home in terms of the influences of my own work- both personal and for the FMP.

"Which pictures matter? Is it the hard won photogrph, knowing, controlled, previsualised? ...Sometimes, it is the offhand snapshot made on a whim."

"But my photography doesn't always fit ito neat, coherent series, so maybe I need to roll freeform around this world... Sometimes that works, sometimes it's indulgent, but really, it's your choice, because you are also free to not make 'sense'."
-This statement affected me more than I thought it would or even intended to. To be quite frank, I wouldn't say I'm a Photographer in the slightest. I barely know how to hold a camera. I wouldn't really say I'm an Artist either, although I think I understand how to hold a paintbrush.. I guess what I'm saying after reading that quote though, is that do I really need to know all the ins and outs of f.stops, light balance and depth of field? I've always felt very judged when presenting photograps amongst my peers; there are some who do know all of these things, and I guess I just wanted to take a "proper" picture, whatever you want to call it. However recently and even more so now, I've been experimenting with what I like, be it out of focus, wonky or even under exposed. I'm searching more and more into the photographers and artists that use imagery in other ways than to simply document, to attach feeling, emotion and intertextuality into their work. I feel like that's what I'm doing. I think I feel more settled, with my imagery. More settled with what my artwork is becoming about.

"Photography is the mostcommon method via which people attempt to keep a hold of things they feel that are important. Whether it is the people we attach our affections to... the photograph can make a record of these things and, at times, can come to supersede the things photographed in terms of importance; they become the physical manifestation of our memories."

This bottom highlighted quote was taken from Tom Rodgers again, upon reading Graham's work. I connected with this too; my work definitely represents the importance that memory has in connection to photographs. I'm "all about" the idea that memories aren't really our own- how an image can portray interpretation as much as it can with truth.

Research- Rodgers

Yesterday, as usual on a Tuesday morning, was our contextual studies lecture (our last one!!! boo). Usually taken by Chris, this time it was held by Tom Rodgers. Instantly I felt comfortable as Tom is someone I see on a regular occurrence- he's a Photography tutor at College.

His photographs, for me, were very interesting to look at in terms of aesthetics, composition and technique.

Whilst Tom was speaking, he read out two passages that were very distinctive for me and the work in progress throughout my Final Major Project. One of which was taken from www.oneandother.com - an online magazine for the city of York and surrounding areas-  in which he has written several articles, which led me to inverstigate these other artistic scrawlings. To be honest however, I did find them pretty articulate and of refined interest to read.

Quotes below are taken from http://www.oneandother.com/authors/tom-rodgers/ from his articles about Photography and comments about his personal work.

"... there is not many an occasion when I recognise anything in a fraction of a second, nor is there a great deal of realisation that anything of unusual significance is happening around me. Perhaps my decisive moment is the ongoing moment of the continual pursuit of photographic images that might render visible something of how I feel about life and my place within the world"

"I work mainly in black and white as it allows me to concentrate more on composition and formal elements and so the use of colour when I am working becomes an element around which I build images, focusing on details and arrangements that would otherwise become lost in black and white."

"Simply explaining what is in a photograph is, of course, easy, if not pointless – we can see what’s in the picture, why do I need to describe it?"

"... it often becomes common to fall into the trap of attempting to explain a photograph merely by describing the content of the image, a process which is all but pointless... the words will not do it justice regardless of the lucidity of the description and will ultimately create within the recipient's mind a unique image largely variable to the original."

"We all take pictures, very nearly all of the time, recording the events that we are involved in and gathering memories for recall at some unspecified but apparently universal time when we will want to look back on who we were at a specific point in the lives that we have led"

"...I do feel that there is, within images of people and especially in images of oneself, a very definite attempt to retain life"

"The knowledge that while one is explicitly being in the present moment, the ‘me’, the self that is being observed in the image is, of necessity, no longer being and, in the future, that the self of the present moment will also cease to be"

- These last quotes in particular represent how I feel towards my own work; my FMP is to do with the idea of memory, existence and the idea of their deterioration, through photographic documentation. The images used are of myself as a child, but by editing myself out of them, the photograph becomes anonymous and therefore only I understand the true context and meaning of the image, whilst my audience can only take connotation from their own views and interpretation. Something that is of paramount importance for my exhibition.

Quick Ideas..



I was talking with Steve recently about potential exhibition space and the idea of hanging my work in an area that already looks (more than a single, white board) more like a domestic environment.

I quickly sketched what it looks like (evidently amazing) and annotated, however took pictures to follow. By cataloguing, it shows I am looking at gallery and exhibition ideas, and thinking about composition the aesthetics that would best suit my work.

Lecture Boredom Scribbles!

Three stupidly quick ideas that seemed to pop into my head during the lecture with Tom Rodgers. (At least my thoughts were about FMP so don't tell me off Chris!!)

Three variations of what currently are the base form of what my installation piece could look like.

I have another 5 weeks to see how much this could change really... We shall see.

Exploration of Readymade..

The use of the readymade (everyday object selected and designated as art) has been important within art over the last 100 years. Marcel Duchamp, a pioneer within the discipline, created the first "ready made" artwork- Bicycle Wheel 1913, which consisted of a wheel mounted on a stool, as a protest against the excessive importance attached to works of art. It was technically a "ready made assisted", because it was two items combined.
The best known readymade, also by Duchamp is the urinal- Fountain 1917. By selecting mass-produced, commonplace objects, Duchamp attempted to destroy the notion of the uniqueness of the art object. The result was a new, controversial definition of art as an intellectual rather than a material process. [1]

This process became ever popular right through the 20th and now 21st Century, seeing Young British Artists incorporating "found" objects into their works. The most famous from this century, perhaps Hirst's The Physical Impossiblity of Death in the Mind of Someone Living, or Emin's Anyone I Have Ever Slept With.

Boltanski- Existing Works

(Christian Boltanski, Autel de Lycée Chases, 1986–87. "Altar to the Chases High School". Six photographs, six desk lamps, and twenty-two tin boxes, 170.2 x 214.6 x 24.1 cm.)

The power of photography to recall the past has inspired many contemporary artists to use photographs to revisit the experience of historical events. In so doing, artists reconsider the photograph itself as an object imbued with history. They became aware that using the medium of photography would lend the elements of specificity and truth to their work.

In Boltanski’s 1986–87 work Autel de Lycée Chases (which means “Altar to the Chases High School”) enlarged photographs of children are hung over a platform constructed from stacked tin biscuit boxes, which are rusted as if they have been ravaged by time. The black-and-white photographs look like artifacts from another era. An electric light illuminates each face while at the same time obscuring it. The arrangement gives no way to identify or connect the unnamed individuals.
The photos used in Autel de Lycée Chases were taken from a real-world source, the school photograph of the graduating class of 1931 from a Viennese high school for Jewish students. These students were coming of age in a world dominated by war and persecution, and it is likely that many perished over the next decade. [1]

Above is "Les archives de C.B." an installation piece I have had the pleasure of seeing for myself in Centre Pompidou, Paris. The first comment I could make was simply about how overwhelming it was; it stands at 2.7m high x 6.9m wide. It is made from 646 metal biscuit tins, with varying levels of rust and use and lit by black desktop lamps.

The impression is that the whole piece was erected in a rush. The implication is that this is a makeshift archive, thrown together to rescue things otherwise doomed to oblivion.
These tins contain more than 1,200 photos and 800 documents that Boltanski gathered when he cleared his atelier. These tins, in other words, contain records from his entire life as an artist, shielded from view. They are only present in his memory and privacy. [2]

Research- Freud

Towards the end of the previous post, it refers to the idea of changing the connotation of a photograph (in this case, early childhood photographs) through feeding a different idea and sewing the new "denotation" of what the image is into the mind.

Sigmund Freud, an Austrian neurologist, became known as the founding father of psychoanalysis.
"The basic tenets of psychoanalysis include the following:

1. beside the inherited constitution of personality, a person's development is determined by events in early childhood;
2. human behavior, experience, and cognition are largely determined by irrational drives;"

The 'Theory of the Uncanny' by Freud is an idea that holds high relevance towards my work and intentions; 'Das Unheimliche'- "the opposite of what is familiar".

Because the uncanny is familiar, yet strange, it often creates cognitive dissonance within the experiencing subject due to the paradoxical nature of being attracted to, yet repulsed by an object at the same time. This cognitive dissonance often leads to an outright rejection of the object, as one would rather reject than rationalise.

Research- Boltanski

Christian Boltanski is a French sculptor, painter, and film maker. However, it is his photography work that most interests me, especially his ideologies and use of connotation within still image.
He began working exclusively with photography for exploring the forms of consciousness and remembering, something similar to the work I am producing today. Whilst Boltanski's work contained "objets trouvés" (found objects), my work is still found object however more invloving the use of the readymade- for example, the use of already developed film photos- they are found and readymade (the two overlap a certain extent).

I also took other insightful quotes from the interview with Tamar Garb (Durning Lawrence Professor in the History of Art) that I thought were relevant and useful to be read and understood in context with the way I feel towards my own work:

"For exmample I often work on pieces that include clothes, and for me there is a direct relationship between a piece of clothing, and a dead body, in that someone once existed but is no longer there.. Someone has actually chosen them, loved them, but the life in them is now dead. Exhibiting them in a show is like giving the clothes a new life- like resurrecting them"
- This was of importance to note as in the previous development work running up to the FMP, I had considered using clothing within my work as a component of a possible installation or final piece of work.

"I don't feel like a photographer, more like a recycler"
- I would have thought the connection here to be pretty obvious, however needs must... This directly relates back to my own work in terms of the use of the readymade photograph- I purposely am not taking photos due to the use of nostalgia and the found image. It all collates together to create cohesion in the development and final work. Plus I find that although I already have the photographs, I can edit, chop, change and manipulate these images to fit my own ideologies.

"I have no childhood memories up to my 12th year or thereabouts... For years, I took comfort in such absence of history; its objective crispness, its apparent obviousness, its innocence protected me, but what did they protect me from"
- I guess you have to read further into this one. When reading this, I began to think about whether we truly remember our younger years, or are our memories sewn into our minds from anecdotes, stories and memorabilia that others have influenced into our minds? Do we actually remember the first time we fell off a bike? It is said that a picture paints a thousand words, but how many of those words are truth? This is where the context of images become evidently important to my work; I have worked on the idea of changing the connotation of images to feed the mind into believing something else.

C'mon Emin

It is common knowledge that Tracey Emin works from own experiences, things that have happened and even shaped her life. She is a ballsy, angsty person to say the least. Having read multiple interviews with the artist, it is clear that these aforementioned life experiences have made her into the shouty, sweary and no- nonsense creator she is today.

These are just a few examples of the work evolving around Emin's own experiences (top left: My Bed, top right: You Should Have Loved ME, bottom left: Everyone I Have Ever Slept With, bottom right: Suffer Love XXI).

However these weren't the pieces that caught my attention particularly. A work called Feeling Pregnant, was created in six separate parts, and it is II that I am looking at in terms of aesthetics; the composition and presentation of work. I'm researching this in comparision to m own work, and hopefully pick up ideas or influence in terms of the way my work will be presented for final exhibition.

It has a very clinical look instantly, the use of white background allows the work to almost sink into the background, whilst the colour of the child's shoes pop out and ask for attention.

It is for me to look into whether I would personally want my work to look so straight forward and very much aware that it is in a gallery space is this work is, or whether my idea of the domestic environment is more overwhelming and of further importance.

Background:
Told by a doctor that she was unlikely ever to bear children, she nevertheless fell pregnant and had an abortion in 1990. Following this traumatic episode she destroyed all her previous work and stopped painting for several years. [1]

Research- Billingham; Goldin

Stylised Realism & Coaxing Emotion.

Getting myself back in the library this morning, and searching on the College system for any of the artists I discovered yesterday. It did pick up a book (Ch-Ch-Ch-Changes, John Reardon) which wasn't particularly helpful, however an Aesthetica magazine was also brought to my attention.
I couldn't actually find the artist it had searched in the magazine, however it did contain a couple of brilliant article/reviews on photography through various platforms. The review that caught my attention most, was Stylised Realism & Coaxing Emotion, written by Ruby Beesley, about Jannica Honey and her works, influences and significant attributes to her photography and ideologies.

I feel like an explorer... Of sorts.

In relation to my previous post, I noted down a load of artists (that I hadn't really heard of or seen much of their work before) to look at from the various magazines that had potential to be interesting or of benefit to my research. Either that or I just thought what I saw in the print was just cool.

Library Day!

As an attempt to start as I mean to go on, I've had my head in various books and magazines for most of the afternoon. I'm pretty lucky to be able to get hold of multiple leading magazines in the modern and contemporary arts, such as Frieze, Elephant, Raw, Aesthetica, etc from the College library.

I found a review of Polish artist Christian Tomaszewski that caught my eye, after trolling through pages of works that are of little interest to me (although some looked pretty, aw).
"...The 20-odd-minute long videos included original footage of interiors and locations from which Tomaszewski removed nearly all traces of life, digitally erasing both the actors and the dialogue. What is left are austere, desolate shots that possess a haunting stillness." (Taken directly from Frieze magazine article)

Discovering his "Erased" works, almost felt like someone had stolen my thoughts, and progessed on with my work! I feel like I am doing this with the found photographs, but in still rather than moving image.

(screen shots of Erased)

Research- Gaston Bachelard

This reading was also suggested, and again I attempted to search any of Bachelard's works in the College library and was unsuccessful. Therefore as any student would, I hit up Google. I came across a few particularly un-insightful pages then stumbled upon this Blogspot review (which by the way, took about 50 million years to upload thanks to a brilliantly quick College computer).

"Sometimes the house of the future is better built, lighter and larger than all the houses of the past, so that the image of the dream house is opposed to that of the childhood home…. Maybe it is a good thing for us to keep a few dreams of a house that we shall live in later, always later, so much later, in fact, that we shall not have time to achieve it. For a house that was final, one that stood in symmetrical relation to the house we were born in, would lead to thoughts—serious, sad thoughts—and not to dreams. It is better to live in a state of impermanence than in one of finality."

From the review I highlighted a few phrases that correlated with my own concepts of my current work, and the ideas of a potential domestic environment whereby my work would/could be shown.NB: domestic environment could be created through installation piece.

"Bachelard determines that the house has both unity and complexity, it is made out of memories and experiences, its different parts arouse different sensations at yet it brings up a unitary, intimate experience of living."

"Bachelard explains his focus on the poetic image for it being the property of the innocent consciousness, something which precedes conscious thought, does not require knowledge and is the direct product of the heart and soul. This direct relation of poetry to reality, for Bachelard, intensifies the reality of perceived objects ("imagination augments the values of reality", The Poetics of Space, p.3)."

Research- Roland Barthes

Having a spare hour before my usual Tuesday contextual studies lecture, I've shoved myself in the library. During a previous chat with Steve (my Fine Art tutor), he suggested some reading/ research that could be potentially beneficial.

One of the pieces of reading was Camera Lucida by Roland Barthes. I have previously studied this author during A Level Media Studies, so am fairly familiar with his work and ideologies.

I tried searching the book it in the College library, but surprise surprise we don't have it. So instead I searched online, and due to it being a full book, I couldn't access it. However I came across a Guardian article (so, probably more reliable than a 'back alley' review) and whilst some of it I couldn't understand, there were a few key phrases that stood out, especially in relation to my work and intentions.

"...photographs are always photographs of something. The book's more penetrating influence has certainly to do with photography and mortality: both the memorial uses to which photographs have long been put – one thinks of Victorian mourning portraits, or the profusion of post-9/11 mementos – and the vertigo we can feel in the face of even the most vivid and living subject."

"Barthes, however, is a temperamentally discreet narrator, so never shows us the photograph: 'It exists only for me. For you, it would be nothing but an indifferent picture.' "

This last quote was notably distinctive for me, as this is how I tend to feel about my own work. I prefer to work with memorabilia that is personal to me- for example the childhood photographs of myself- people can say "oh that's a lovely picture", but it's only me who knows the meaning and context of the image, and my personal feelings connected with it. I'm not saying that I want to share the feelings of those moments, because I don't. I guess what I'm trying to say is that my work is as much an insight into myself, as it is that I don't want my audience to have any connection to it whatsoever. Juxtapositions, I guess?

In that inference I guess I can say that my exterior portrayal of work to my audience is similar to that of Christian Boltanski- he doesn't work with personal imagery, however our outcomes of a "non- connection" and the impersonal within exhibiting the work is the same.

Statement of Intent.

For the SoI we have been given a guideline sheet, outlining the things we should discuss per paragraph/section. I'm pretty relieved; I thought we were literally just being dropped in the dark and expected to waffle for 500 words.

Today (Monday 18th March, day 1 of FMP), I decided to write a few quick notes on each section, get the 'juices flowing', if you will.

Section 1:
"What is the title of your project? What will you work towards producing and what is your proposed end point? Explain how this relates to your work and ideas from the Pathway stage and how it extends your knowledge, understanding and creative ability."

Section 2:

"What are the influences, starting points and contextual references and why are they relevant to your ideas? Indicate the subject areas you intend to research and the likely sources of information including any museums, specific locations, performances etc you plan to visit. However you should not make extensive lists in this section. Instead you should compile an accurate bibliography correctly acknowledging all references including texts, periodicals, webistes and video/DVDs etc."

Section 3:
"Refer to any techniques and processes you intend to use. Describe the range of media and materials relevant to your project and how you might use them to explore and develop your ideas. Include aspects of studio practice, workshop procedures or the use of particular equipment and software etc. Provide an indicative timescale for your project and indicate the ways you intend to divide your time in order to investigate, develop, produce and evaluate your project appropriately. This should be a meanihngful plan to you and should be personalised to your project. You may wish to write your plan as a daily/weekly schedule."

Section 4:
"How will you critically review and analyse your work and determine if it successful? How will you identify direcetions for ongoing development? Do you have a method to record the critical response to your ideas? How do you propose to assess the success of your project and what will be your methods of evaluation? A supporting statement at the end of your project will help you to critically analyse your project."

... I didn't get round to this yet.

Final Major Project

Brief!

"Rationale: The Final Major Project (FMP) is the culmination of all that you have gained from studying on the Foundation course so far. For the FMP you will write your own project proposal called a Statement of Intent (SoI), complete your self initiated project over six weeks and then evaluate the work you have made in a Supporting Statement (SS). It is your chance to use all of the new skills, ideas and processes that you have developed during the course and it should be your most ambitious work to date. It is a period of increased independence and your work will be assessed at level 4 which is the same level as the first year of a degree course so the standard is very high. The FMP is a major art and design project and should be innovative and imaginative and be personal to you. Reflecting on the work completed during the exploratory and pathway stage the FMP will be a development from work previously produced in past projects. Through critical reflection you will develop your ideas in the pursuit of achieving your personal goals and the realisation of an exciting and substantial body of work."

WHAT A MOUTHFUL.

Basically this is what I took from that:

"Rationale: The Final Major Project (FMP) is the culmination of all that you have gained from studying on the Foundation course so far. For the FMP you will write your own project proposal called a Statement of Intent (SoI), complete your self initiated project over six weeks and then evaluate the work you have made in a Supporting Statement (SS). It is your chance to use all of the new skills, ideas and processes that you have developed during the course and it should be your most ambitious work to date. It is a period of increased independence and your work will be assessed at level 4 which is the same level as the first year of a degree course so the standard is very high. The FMP is a major art and design project and should be innovative and imaginative and be personal to you. Reflecting on the work completed during the exploratory and pathway stage the FMP will be a development from work previously produced in past projects. Through critical reflection you will develop your ideas in the pursuit of achieving your personal goals and the realisation of an exciting and substantial body of work."

We were given a lecture for the introduction of the Final Major Project. Being a slight nerd, I scribbled a few key notes down.

About me.

My name is Charlotte Wright. I am 19 years old. I currently study BTEC Foundation Diploma in Art & Design at York College, specialising into Fine Art (the best one). After this, I intend to study BA (Hons) Fine Art at Nottingham Trent University.

By the way, that's me.

My work over the last 8 months has changed beyond any recognition, and to be quite honest, I really like that. I finished A Level Fine Art thinking my 'be all and end all' was painting. I joined the Foundation and I guess without sounding stupidly cliched, my eyes were properly opened into this world of freedom within art. The initial projects we were given really changed how I looked at the works I make, and even that of the pieces I consume as an audience.

From experimenting with latex and to more 3D works, into photography and projection, and even the potential of video/ filmmaking. The last few months in particular, I have worked closely with photography, and the use of text within works. My motivation however, has stayed the same. I find that personal responses drive my art so much more than if I had no interest or knowledge towards something. I purposely use and create work that is close to me; I previously spent a 2 week Graphics project designing badges around a recent relationship break up, and afterwards the effect it had was incredible. I had worked so hard because of the intense emotional connection, and at the same time, I was releasing feelings I didn't think I could. The understanding of an emotional connection to the motivation and quality of my work is something I intend to pursue indefinitely.