assignment three

Assignment three: Tutor report

As I mentioned in my reflection, I am very satisfied with how the critical thinking has developed in A3. Especially after some of the convoluting of theory in A2. So not only am I pleased to see this rewarded in my tutor report, but also the encouragement to continue to read and take risks in my work. Overall the report was very positive and through my tutorial and follow-up emails with Robert, I was able to find a good balance of theory without creating a referential overload. My thinking has been quite deep for what looks a simple abstraction process, but I think the continued sharing with my tutor and study group peers has helped me to distill this into something much more concise.

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Assignment three: Reflection

The process of A3 has been an interesting development in my BoW. From my initial progression past A2 I was confronted with the great doubt, initially feeling the need to defend my work, or more specifically, the purpose of it. I acknowledged that the personal meditation was not substantial enough as a point of entry and the use of video didn’t quite work. However I remained steadfast in the basic idea, I just needed to more succinctly express what I am doing and why. And so a period of reading and research helped me to articulate the areas of documentation, process, representation and site-specificity.

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Reflection: The Shadowgram antithesis

After catching up on my last experiments with the shadowgram last week. I finally reached a state of being up to date in both BoW and CS for all the work I had carried out. So without having any outstanding works for once I posed myself a quick assessment and mini challenge.

The central idea of the shadowgram strategy is to return the abstract image back to its place of capture; therefore leaving an intervention on the ‘physical space’, while the standardised A4 paper print occupies the ‘image space’. David Campany writes about these spatial considerations saying when we see “What Sander called the “mosaic” of the photographic assembly is an expression of the mosaic nature of bodily and spatial experience.” (Campany, 2018).

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Reflection: Artwork in the public space?

Watching a rerun of a documentary recently on Antony Gormley, What do artists do all day?, I was struck by a couple of initial statements he makes. Gormley, who has an installation Another Place in nearby Crosby says “Sculpture puts something into the world that wasn’t there before.” (What do artists do all day?, Episode 12, 2014). And through this intervention “To that bit of the world, the setting of the world is changed.” I considered in broader terms, isn’t this the case when any artwork enters the world? In the public space, in order to install a piece of art in public, the ownership of the work is relinquished to the space itself. And therefore any further interventions would also be a casualty of the previous expression. It is in this spirit that I enjoy the work of Gormley, together with James Turrell and Richard Serra, that thy evolve sculpture into a kind of experiential placeholder.

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Reflection: Projections

As I mentioned in my last post, I have been exploring the impact of time on my initial impulses of my notations.

The two examples I referred to I also set up the camera to record the evolution of the image (like a time-lapse). Time-lapse itself is now a technique used to speed up time to demonstrate the changes of a subject or event. What I see being primarily interested in the still image, is how this sequencing is how we select/deselect images. Likewise how we remember certain memories and disregard others.

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