Critque feedback.

So if I'm honest it the first crit I've had in a long time, and it helped me loads. It was a small group of 5 and tutor Natasha.

The first question I was asked was whether I have considered the idea of 'ridiculous collections.'

 Am I becoming a mad hoarder?

Personally? No, not yet anyway. I don't own nearly as much junk as I desire. Especially from moving 4 times in last few years you tend to have to chose whether that ornament of a cat is really worth the space.

First response was the connection with Chris Wool's work.

 

I think that the link was made because of his use of continuous lines. From a distance the tickets simply morphed into a pattern, but up close the craziness of all the tickets became obvious. They function formally together with the two colours. They described my work as being like an infestation because of it being in the corner and expanding out. Like a plant, or the marks dead ivy leaves on a building, is it going to stop?

For me it is important to occupy the space and completely take it over, and just as much they construction of the piece, the idea of continuously repeating the action of laying the ticket out is just as important as the outcome.

I was asked whether the colours were important to me..

but I don't really feel like they are relevant here. I didn't pick to use these two colour; orange and green, they were just the colour the train tickets were. I do however feel that if I was constructing this piece without my collection, and maybe with pieces of black card for example, the power of the piece wouldn't be as big.

Monday.

Today we went to the 'No Working Title' private view. Along with the free wine and owl shaped cookies there were some really interesting pieces.
Earlier in the year a group students took part in the Tate Project, a collaboration with Norwich University College of the Arts, Winchester School of Art and Bath School of Art and Design, they were partnered up, using instructions that they sent to each other via post email or text they created a piece of work.


The work was exhibited at the Tate Modern for a day and now is traveling around the three unis.

So it's birthday time and crit time

Today was the first and only Critique of the 3rd year, which I think personally is way to early in the year but anyway.

As I mentioned before I was thinking about recreating a new version of the piece I made at Dartmouth, with the tickets on the wall and floor.

I think it worked well as it did before, however I still had a large number of tickets left but left like I couldn't expand it anymore in case of the other works around. 

space before installation

However this did help me into thinking further into this idea; as of the vast amount left over, when the crit has been done and finished I plan to layout the tickets in a different way....not gunna give anything away just yet!

Anyway back to this piece, as I was working with a different space, I can across different problems, that I enjoyed working with but at the same time would rather didn't have to deal with.

The space I occupy is the corner of the studio, where 2/3 of the way up the wall is a large boxed in cables that run right around the room, and on one of the walls, there were two sets of plug sockets. Therefore instead of ignoring them, I made the tickets climb up and over them, bend around them; therefore the final piece isn't just flat against the wall.

I'm not entirely sure what I wish to portray with this piece, but it is linked to my collection theme; large amount of train tickets. (given 90% them aren't mine). and I like this piece just as much finished as when I'm creating it. Apart from how the tickets join the next one along and the fact that they will be on the wall and floor, I have no plans for this piece; it is all entirely spur of the moment. Each ticket is placed in the direction I feel it should be at the second in time, and I never go back and change the pattern, I might however go back and add more to make the pattern more busy, if I feel it is too empty, but once it is placed, it isnt moved.

The Shining.

"Wendy? Darling? Light, of my life. I'm not gonna hurt ya. You didn't let me finish my sentence. I said, I'm not gonna hurt ya. I'm just going to bash your brains in."

What is Art?

Dissertation research is boring, but I did find this of great interest, mostly because I could understand it, but more because of it's context.

I feel like sharing..

Leo Tolstoy; originally published in 1896

In order correctly to define art, it is necessary, first of all, to cease to consider it as a means to pleasure and to consider it as one of the conditions of human life. Viewing it in this way we cannot fail to observe that art is one of the means of intercourse between man and man.



Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced, or is producing, the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression.



The activity of art is based on the fact that a man, receiving through his sense of hearing or sight another man's expression of feeling, is capable of experiencing the emotion which moved the man who expressed it. To take the simplest example; one man laughs, and another who hears becomes merry; or a man weeps, and another who hears feels sorrow. A man is excited or irritated, and another man seeing him comes to a similar state of mind. By his movements or by the sounds of his voice, a man expresses courage and determination or sadness and calmness, and this state of mind passes on to others. A man suffers, expressing his sufferings by groans and spasms, and this suffering transmits itself to other people; a man expresses his feeling of admiration, devotion, fear, respect, or love to certain objects, persons, or phenomena, and others are infected by the same feelings of admiration, devotion, fear, respect, or love to the same objects, persons, and phenomena.

 

Admit it, he was a bit of looker!

Free Range

In July 2011, we take our Bath Spa Fine Art Degree Show off to London, to the Free Range graduate art show on Brick Lane.
The amazing Natalia and Layne have been working mega hard on producing a blog to celebrate and commincate our progress up to the show.
Follow us from 'newly hatched eggs to free range hens'

http://www.free-range.org.uk/

bit o research.

Today.

"We're the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our Great War's a spiritual war... our Great Depression is our lives. We've all been raised on television to believe that one day we'd all be millionaires, and movie gods, and rock stars. But we won't. And we're slowly learning that fact. And we're very, very pissed off."

-Chuck Palahniuk.

Twitter..

So at an attempt to get more love I have made a Twitter account. I've tried to link it to my lovely blog here so this is basically a test

love xx

The Most Beautiful Thing in the World!

As of late, thanks to my dear landlord, I have been incredibly poor, so yesterday I had to take the long walk into town. But because of this I past an old bungalow that is being gutted.
On its front garden amongst all the rubble was this BEAUTY!

I'm not really sure why but I found this old torn apart piano magnificent. I really want to go back and ask if I can have it. I want to use it somehow to show how it is that it makes me feel. An object that can possess such brilliance, and produce such beautiful music. If there was any instrument I could play it would be this one.

New Ideas.

So after a week off writing up the beginning of my Dissertation (which has been helll by the way), I'm ready for a busy run up of one week before Crits.

Not really sure what I want to show yet, but I think it will involve my tickets, I haven't set them up in my studio yet so quite looking forward to how they will look up and around peoples other work.

Underglass.

Last night, the lovely Natalia, Layne and her Ryan and I went to see the new performance called Underglass in Bristol at The Old Vic
.
Under Glass is a new performance piece by the Clod Ensemble, directed by Suzy Willson, composed by Paul Clark. It is a cabaret of performance pieces, which exist within life-size glass cabinets or jars. Each piece features a different performer (who may be a dancer, a performance artist or an actor), a different original musical score and a distinct visual environment and movement language. The glass containers themselves are specially commissioned pieces, made-to-measure for each performer and each performance space. Examining ideas of claustrophobia and belonging, Under Glass is an exploration of how we can live within our limits.

WINNER OF TOTAL THEATRE AWARD 2009

My feet were killing me the whole time and desperately wanted to sit down but once I had forgot about the foot pain, I realised the performace was very eerie.
We were led into a pitch black room, when the lights started to flash on and off over a lady in a jar. With every flash she changed position, which was a short period of time so was very skillful.
Overall it was a very 'scary and creepy' performance, with dramatic music to add to the effect.

New York. (and Philly)

Been flicking through photo albums, and found some of these babies from my New York trip in April.

Although most of them don't fit in with my studio practice at the moment, I've noticed that some of them do show good example of collections

P.s I'm so excited about getting my new camera!! ahhhh!!