I have recently completed my final assignment for CS, and although I will only receive the results of assessment in March 2020, my tutor Russell has given me very positive feedback in the conclusion of our discussions and tutor report. The final tutor report from Robert, my tutor for BoW, has also commended the improvement in my writing skills. This combined with further complimentary peer feedback has left me emboldened to keep a divergent thought process towards A2 and consider writing a paper as an option for my publication in SYP.Read More
After completing my final assignment for Contextual Studies, my tutor Russell suggested that since the final draft is resolved and agreed with us both, it would be good to ask for peer feedback to some focused questions. The reasoning being that both Russell and I have a vested interest in the area of enquiry; East Asian art, and so our ongoing discussions have developed a fluid dialogue that didn’t require much background info. But other readers may not know the photographers I have written about and there is also a chance that the assessors also are not so familiar with Bae Bien-U, Lee Jungjin etc.Read More
My position is a little more complex for this exercise. Firstly when considering ‘where’ I would ask for funding. Although I retain a registered presence, my day to day life is not in the UK anymore. Secondly my professional background has made me experienced to some situations so I already have a developed preference for how to fund a project.Read More
After completing A1 for SYP, my tutor Gina suggested a solution for my publication in my tutor report that incorporates the current limitations I have as a stay at home dad. An Artist Residency in Motherhood is a conceptual and practical framework conceived by artist Lenka Clayton. The idea came from her own experience of becoming a mother and the impact it had on her artistic practice. In an interview for Blanton Museum of Art, she explains that it is “…a proposal to look at the things that are making working as an artist difficult and transform them mentally into something to work with.” (Henderson, 2018),Read More
The Independent refers to him as “The artist vandalising advertising with poetry” (Battersby, 2012). Robert Montgomery is considered to be anything, from vandal to academic street artist. Either by design or guerrilla tactics he installs poetry in the physical space of the public. He is most recognised for his work on billboards, initially in London in protest to the Iraq war. I find him to be a fusion of Beat poets and Junichiro Tanizaki. Montgomery’s work meanders from a melancholic Romanticism of England, almost like a lyrical Turner, before leaping into protestations of Capitalism and contemporary social issues. All within approximately 100 words (see fig. 1.).Read More
Following the prompt return of my tutor report for A5 and the conclusion of BoW I feel a slight sadness that things have come to a close. Although of course there is much to look forward to and keep me busy, letting go and knowing when to finish is part of project culture, something I am familiar with in my nomadic professional life. Still it is nice to look back on a project and process with some fondness. As Robert says “art is a process” that is “never complete”. Very true, creative practice is cyclical and offers a continual return to a world that is strange and familiar.Read More
The finalising of my portfolio for BoW in A5 ended up being a pretty simple task. Because of my intention to dovetail SYP, I was able to use A1 in the final module to help me decide what kind of direction I wanted the work to pursue. In creating the proposal document with the intention of professional feedback, I believed that presenting the concept worked best over process. I still have the process photographs if needed in a certain kind of publication, but as a portfolio I believe a method of ‘show not tell’ works best, leaving the viewer with space to ask questions rather than offer answers. Having this crossover between the two modules also helped me resolve an introduction text, artist statement and biography that is concise for a public audience.Read More
The Print Room in Kuala Lumpur is a photographers studio with darkroom facilities and an exhibition space. I met director and founder Paul Gadd, a British photographer in June of this year, and was excited with the prospect of an independent space close to my new residence in KL. Sadly I was to find out from Paul that the upcoming exhibition, Fin, would be the final one at The Print Room, which will still remain a private space to hire and utilise as Paul will focus more of his time in Seoul, Korea.Read More
I had my first tutorial and report from Gina, my tutor for SYP. It was a very positive discussion on the presentation and variety of feedback I requested from my network in producing A1. Overall this was a very satisfying conclusion to the first part of SYP and a sense of closure as I have spent much of the summer months consolidating work. Operating a a much slower pace than previously is still a learning curve for me and part of my need to manage my own expectations.Read More
My initial engagement with SYP has been a non-linear process. Due to personal circumstances, which included moving to another country, I stockpiled work for A1 while I was in Liverpool, knowing there would be a lack of opportunity once I moved to KL to engage directly with people. Although I still have access to a network of peers and professionals to connect with back in the UK, I specifically wanted to meet someone new (Sarah Fisher) so I could propose my work without any previous knowledge of my practice. I also wanted to engage in direct talks rather than via email so I found my approach to be proactive, even if I wasn’t fully prepared in my presentation.Read More
After submitting A4 and receiving my tutor report from Robert, my BoW is in a good place as I look to conclude this module. He suggested to research Black Square (1913) by Kazimir Malevich (1879–1935). Robert first brought up Malevich back in my tutor report for A1. This was due to my use of the square crop, with its links to modernism and purity of form (see fig. 1.). This time around the recommendation was based upon the formal aspect meeting a metaphysical one. Malevich had no distinguished style prior to painting Black Square, but it was a central piece to his unveiling of the manifesto Suprematism, which is described as his “…intent to liberate painting from the shackles of mimesis and representation, to raise it to a higher state and into greater spatial freedom.” (Spalding, 2014). It is an artwork that is thought to be the Hour Zero of modern art.Read More
The encounter of shadow is something that has inspired artistic expression throughout human history. Yet today in an image lead culture it is often forgotten that the photograph is predominantly displaced from its place of capture.Read More
At this point I don’t have an opportunity to attend any new exhibitions in KL. The arts and culture scene is not the same as I was accustomed to in Liverpool. Also my current home situation leaves me limited to explore further afield. However I have written about all of the exhibition and arts events I was able to attend prior to May 2019.Read More
Although at this stage my BoW is not completely resolved, I have shared the latest assignment and discussed the way of seeing with various peers and professionals I know. Below is a selection of those I have discussed the work with, asking for their own interpretation and how it can be viewed in the world.Read More
Having received my tutor report for A4 from Robert, I must admit I felt reassured that the conceptual was well received going forward. The time gap between A3 and interventions for me made the assignment take on an added pressure to deliver after the big build up. This was compounded by the limited time I could undertake the work so overall I feel happy about the feedback and glad I continued to take risks. And now going on with A5, to continue producing a few more formations and interventions so I can select from a wider group of case studies is a clear enough brief.Read More
My initial thoughts when approaching the first pages of Sustaining Your Practice, was that there are many exercises I have undertaken in a professional capacity beforehand. So it is entirely feasible that I could be efficient in working though tasks such as writing an artist statement or building up a CV. In addition, having entered and been successful in professional awards and hold an Associateship in Fine Art with the British Institute of Professional Photography, I am used to presenting my work and receiving feedback. My experience in holding exhibitions and being published means I don’t have a primary ambition to have my work realised in such a way as may be under different circumstances.Read More
After concluding my theorisation in A3, I set about using A4 to bring this concept into the public space. This is not only an evolution of formations as a strategy, but also a return to A1, where I presented my notational impulses of photographing shadow patterns which I regard as a form of ephemeral street art. Even now I continue to make notations whenever inspired. Together with my approach to framing shadow patterns within a standardised form of A4 paper before returning a 1:1 scale rendering to its place of creation; a way of seeing has evolved both for interior and exterior spaces which is interconnected in its various forms.Read More
My work doesn't have any kind of political agenda or a narrative. I would go as far to say that my work for BoW was borne out of a diverse group of influences such as street art, sculpture, Bauhaus and East Asian art. It brings together physical and meditative acts as discussed by David Campany in his essay Physical Space, Image Space, Psychical Space (2018). But it has also contextually evolved through the academic theory I have read, and reflected upon during this module.
It is also fair to conclude that if I was not theoretically challenged I may have continued to pursue the safer ground of photographing the Asian landscape through a graphical, Western minimalist eye.Read More
Back in May I had the opportunity to finish my time up in Liverpool by putting into practice the theory for my BoW in the public space, before heading to my new pastures of Kuala Lumpur. While this wasn’t completely a now or never situation, my coming 6-12 months will be limited to the domestic space where I could, in theory continue with my formations strategy which is based upon working within the confines of home much like Uta Barth. In addition my accessibility to photo quality printing is not the same as what I had previously in my studio space, making the logistics of the process more inhibiting.
There was a sense of unknown how the ideas would translate outside, however I had undertaken plenty of research beforehand on site-specificity and participation. After a period of getting the technique and process right, I gathered 6 completed interventions on the public space around Liverpool.Read More
Admittedly I might be treading on old ground by referring to Richard Serra, James Turrell and in a photographic context, Hiroshi Sugimoto, however I do regard it relevant to see how there work, sculptural and photographic are sequenced. Having written about site-specificity regarding sculpture and its influence on my practice, I also have the books at hand to reflect on the layouts based on a new point of focus.
Since my work is not based of narrative, I think surveys and monographs are more relevant publications to explore. Monographs in general are not narratively sequenced, but more often divided into series.Read More