Antidepressants Monoprints and Crit with Babeworld3000

Personal Projects

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I’ve made myself a little DIY monoprint set up for my room consisting of a sheet of perspex and a roller and ink from a home linocut kit. The above photos show the set up and the process for the series I made about 2 months ago (I was going to wait until I had scans to upload but I decided to just upload the photos from my phone as I want to document what I’m doing regardless). I knew I wanted to write, but with monoprinting your prints come out reversed and I am rubbish at writing backwards, so I wrote out each thing on tracing paper first which I then flipped and placed on top of the sheet of paper I was printing onto, so that I could trace the backwards writing- meaning the prints were the right way.

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The series consists of 13 prints- 3 are the names of the 3 antidepressants I have taken (one of which I am currently taking), and then 10 of the side effects I have experienced from these medications.

I made this as I have just recently switched antidepressants and am now on the third kind I have tried since I first started taking them aged 17, and I wanted to bring attention to some of the side effects that particularly effect me. Some of these side effects I didn’t even realise I was experiencing because of my medication- for instance the increased sensitivity to sunlight one- I used to tan really well and it took a lot of exposure to the sun for me to burn, but over the years this has changed and I now burn very easily and become easily fatigued if I spend too long in the sun. I also get dehydrated faster when it’s hot and it was only last summer that I read somewhere that it is a common side effect of long term antidepressant use. I think it’s really important to discuss relying on medication to be able to function; there is a lot of stigma still particularly towards those who take medication for mental health issues, a lot of misinformation, and a lot of jargon.

I was stuck on what to do next with this series of prints, so I put them aside for over a month to figure out where I wanted to go with it, and then saw a few days ago that Babeworld3000 are doing bi monthly zoom call crits and a reading group, so I figured joining the crit would be a good way to get feedback on this work. They gave me some really good stuff to work with and I enjoyed being able to feedback to others- it was something I really missed from uni!

I’m going to add the notes that the peeps who run Babeworld3000 made during the call once they email them out, but here are the things I jotted down just after my turn:

  • Make it into a zine- educational (one of the people who runs Babeworld3000 also took part in the exhibition I was in with WANK Collective last year and really liked the zines I displayed- she suggested making these into a zine and others agreed)
  • liked that it’s in my own language, more accessible, feels more real, honest
  • Printing onto the side effects leaflets?
  • Side effects bingo- everyone who has also taken these kinds of meds really connected with it and we joked about creating a “side effects bingo” which could be something fun on it’s own or as part of a zine
  • liked the medium
  • side effects bunting

To Do:

  • add notes from Babeworld3000 once they are emailed out
  • consider how to turn the prints into a zine- do I want to monoprint the whole zine, is this feasible? Or do I want to scan them in and create the zine digitally?
  • decide what else could go in the zine/what I want on the front and back covers, what size, is it going to be stapled, hand stitched, or just folded?
  • Take better photos or scan the prints in for portfolio

EDIT: CRIT NOTES FROM BABEWORLD3000:

Kat

  • Monoprint series for feedback
  • How to show? Maybe zines
  • Your past zines could be shared with a zine made from these new prints in sort of a library. 
  • All these perspectives on your own experience shows how multifaceted you are
  • The prints are extremely relatable with the whole group raising hands or saying “same” 
  • The bingo sheet at the back of the zine is an extension of this – like Instagram bingos where we can share parts of ourselves in a humorous and relatable way
  • The zine format is accessible and flips the whole doctors pamphlet thing on its head 
  • print on the list of side effects but using an accessible code of language – colloquial and loaded language.

Symposium 2 Feedback for Peers

Assessment, UNIT 2

Steph

  • speech was too fast to follow
  • visually very engaging, with a strong body of research
  • is the large scale print necessary? I feel that the wooden jigsaw piece is stronger as it encourages audience participation- it invites them to explore the landscapes in a similar way to how she has
  • the shapes and manipulation of the found imagery echoes how mankind has shaped and manipulated the landscapes around it

Janet

  • painting as a living entity, “painting making”, with each painting having its own agency
  • video echoes the idea of cycles and life, and organic matter growing
  • it would have been nice to see some of her research, and an idea of what she is putting into the final show- one painting? Multiple? Screens? A combination of painting and animations?

Robin

  • the video is beautifully made, but the text was at times hard to read- although perhaps this was the intention?
  • the video shows a great deal of consideration, but I would have liked to have seen your research
  • I really enjoy the aspect of your work that is immersive, interactive and has to be experienced- it opens up art to a wider audience which is something I am passionate about

Gabby

  • making sense of loss through documentation
  • a strong body of photography, film and painting
  • the idea of voyeurism and photography is well considered, and I can feel that you care about being sensitive and not exploitative
  • I can see how your photography skills have developed through the selection of images, and use of colour and composition
  • depicts a universal feeling and a strong sense of empathy, viewers will bring their own narrative and emotion to the work
  • I am interested to see what prints you choose to put in the show!

Arlette

  • clearly explained journey, with a strong feeling of direction
  • I really love the concept of ideas–>practice–>ideas
  • parameters can often feel restricting, but for you the boundaries you set yourself helped you to create a rich body of work- clearly you know yourself and your practice well, and this shows

Kehkashan

  • the video is beautiful, although for me the music is a little distracting- it feels like a strange motivational video
  • community building through art, building narratives through curation and making challenge is curating your work well in the show- you have a lot of work!

Dwa

  • silhouettes, shadows, lack of faces- allowing viewers to insert their own narratives, challenging stereotypes and the idea of identity
  • pushing the pieces further and exploring other media/editing
  • I really enjoyed seeing your research!

Justin

  • sight and sound as complimentary forces
  • the bias in art toward visual over sound and where it came from
  • a strong body of practical and traditional research that compliment each other well, with a lot of technical skill
  • I am very keen on the use of old analogue tech, as it works aesthetically and through the sounds they add (static, ect)
  • very excited to experience the work you put in the show

Iris

  • making emotion physical- becoming data, physical reactions v.s. emotional reactions
  • a really diverse range of experimentation exploring emotions as a concept and how we express them (or not) or repress them

Lyu Wen

  • pushing the boundaries of performance art, with a huge amount of work, varying from serious to silly
  • sense of time and space, in art and in real life- a very strong theme with a lot of research
  • I think you’re really brave to put yourself out in public for your performances

Ben

  • the idea of a digital pleasurescape
  • digital memorials and digital death, data footprints left behind
  • embrace the questions and uncertainty- these should not be feared, as there are many things we may never know the answers to
  • fascinating research and striking imagery
  • The key is how you are going to present your work- screens, prints, installation, ect

Anfal

  • mixed media- photography, text, digital editing, and drawing
  • how different kinds of photographic manipulation change the viewers perceptions
  • the use of your work as a kind of journal is very interesting- I would like to see more!
  • the digital illustrations are colourful and engaging
  • keep testing out and experimenting with layering- take test shots and play around with the layout until you get an arrangement you like

Eugenia

  • amazing that you have tried so many pieces of software and have such a good grasp of them so fast
  • I love your character videos, very humorous and fun to watch
  • rather than sticking images to fake iPhones- can you actually show the works digitally on the screens? I get that trickery is desired
  • I would love to see you come as one of your characters on open night!

Vanessa

  • connection to the physical act of making- printmaking, painting, photography, and drawing
  • empty buildings whilst there are people living in tents, a sense of isolation and emptiness- the photographs work really well as stand alone pieces of work, not just as studies for the paintings/drawings
  • are you going to put the photographs in the show, or paintings? both?

Alena

  • very hard to hear what you are saying the video
  • how will you differentiate between your own work and others in the magazine? If that is the plan?
  • more like a look book as opposed to a magazine? Adds texture and depth- it becomes more of a 3D object than just a magazine
  • how will you present the book? Is it going to become an installation, or will the magazine sit on a shelf/plinth?

Ziyan

  • the act of preserving becomes more important than what is preserved
  • choice of mediums and access
  • diverse range of research and critical thinking
  • can’t wait to see what you install in the show!

Manolis

  • Ai in art and the creation of art
  • AI generated work shown on the screens
  • lots of problem solving and collaborations to complete the work which is very fascinating
  • Jonathan could photograph and measure the bed/chair in the Quiet Room at uni and potentially borrow it? Then he would just need the cushions and headset need to be brought to London

Paola

  • I went to the bathroom and missed your presentation 😦
  • but your solo exhibition looked really cool and your digital skills have come really far over the past two years!

1-1 Tutorial with Jonathan 20/05/19

Tutorials, UNIT 2
  • Presentation of work- which objects and why?
  • – Alejandro- go speak to him
  • Next Wednesday- description on Wiki
  • Whitten timber yard, behind Peckham Library- buy a door blank, white faced or plain and paint it for table, use trestles in studio, project already made river file onto table, then paint river
  • OR use a table top in white from Ikea, £25-£27 depending on size
  • IF I can’t find trestles the right size, Ikea sells table legs for £2.50 each × 4 or thin trestles for £5 each × 2
  • using projector as a guideline to paint river onto table
  • Sound- record sound of walking along the river piped into room, or speakers under the table- quieter, more intimate
  • Need to figure out what audience will sit on- benches or stools?
  • White Ikea stools- £4 each?
  • Instead of putting screens on separate plinths- put one Mac on the table with objects- this COULD encourage audience interaction with the rest of the objects- they will know to sit down and use the Mac because of the mouse attached to it, so this might psychologically encourage them to sit at the table and play with/touch the objects
  • 2 screens- aesthetically pleasing but unnecessary?
  • 1 screen- positioned at the end of the table, facing the back of the room, so that viewers have to come round the table to see what is on the screen, influencing the movement of people
  • Real bones included or not??
  • PROS- the whole idea of perception of the objects and the question of whether people will pick up the real things or the materials they are familiar with?
  • CONS- the bones are very fragile and I an worried they will break
  • Screen capture- the whole show, or just the open night?? When I invigilate? Because the files will be huge, but it can be done on quicktime very easily on the Mac- do I want to code it so that it only activates when someone is using it?
  • Sound- borrow sound recorder from CLS- audio recorder (Zoom or TASCAM) and walk along the Thames where I found the bones- do some tests on my phone?
  • Don’t let the levels get too high on recorder- put headphones in and listen as I record and adjust levels accordingly, get a DEADCAT (fluffy thing for the end of the recorder)
  • Look for audio recording apps for Android?

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The above sketches were made during the tutorial, with the top one being the first sketch/idea and the third being the last and most likely final version.

I can be quite flexible with the space I use in the exhibition, however I would prefer a small space for just my work, so that the sound can be heard and I can specifically observe how the audience reacts to my work.

Feedback for Ziyan 07/03/19

2ND YEAR PRESENTATIONS, Tutorials, UNIT 2
  • Guy Debord comments on the “society of spectacle”
  • linking French theory from the 20th century to what is currently happening in China- I thought this was very apt and interesting to consider
  • Lin Yilin and Liang Juhui- impromptu performances that interact with public spaces, playing with the idea of the spectacle
  • Caofei.com – I particularly liked this artists work!
  • Xu Zhen supermarket- playing with the idea of consumer culture, and what people will actually buy
  • where next? What do you see as the final outcome for your work, in regards to the show?
  • dealing with feelings through materials, taking ownership by deconstructing physical memories
  • who do memories belong to?
  • “Memory as an Illusion”, book by Julia Shaw- borrow this from Gabby!
  • “Gaslight”- a film by Alfred Hitchcock examining memory and manipulation
  • I would like to see more research into memory and more experiments and work exploring your topics!

Group Presentations- Feedback for Vanessa

2ND YEAR PRESENTATIONS, Tutorials, UNIT 2
  • Joseph Beuys– “anyone can be an artist”
  • Art as communication
  • Art is for everyone and should be for everyone
  • There should be an inherent value to all art, regardless of monetary value or quality, which is highly subjective
  • Can art be used to help people/ bring people together?
  • Adolf Loos– ‘Ornament and Crime“- a relatively short read that could be used as a counter argument
  • Social sculptures“- interesting phrase from Joseph Beuys video- using his “social sculptures” to communicate to a larger group of people

– using people’s innate urge to be part of a group or community to get people involved in his projects

– using those projects as a way to influence those people and get them to listen to his ideas

  • Using your platform or your skills in a certain medium to engage socially and open up the dialogue- aka musicians using their music to be political, artists using their art to get a message across, writers writing about things they feel strongly about
  • Anselm Kiefer– trying to make the people of Germany “feel” again
  • Refugees travelling to Greece- graves, life jacket installation
  • History is a material” –regimes can manipulate history as they see fit
  • Examining how the societies and times artists live(d) in influence their thinking and work
  • You could strengthen the links between post war Germany and the modern day situation with the Middle East?
  • Etching idea sounds promising- you could look at Francisco Goya and his etchings of the Spanish Civil War
  • I think it would be worth looking at artists making work about refugees and modern conflict (i.e. the Middle East) particularly artists who were or are refugees as they have first hand experience- much like Beuys and Kiefer had first hand experience of WW2 and the aftermath
  • Justin Mortimer- wasn’t sure how he relates to the other two at first
  • Mortimer creates new mythological narratives through painting collages of seemingly unrelated digital imagery- much like how the first two artists created their own mythologies
  • Dream v.s. Hope, the lofty aspiration v.s. the slightly more achievable goal
  • How do you take a dream and turn it into a more realistic, but still satisfying, goal?
  • “La Mitrailleuse” (“The Machine Gun”) by Christopher .R. Nevinson- artist whose style changed dramatically over time with the changes happening around him- WW1, WW2, ect
  • See also Paul Nash
  • Have we suppressed the feelings of and memories WW2 too much? Has that allowed the resurgence of Neo-Nazi ideals and the rise of other conflicts and regimes?

On another note, I think you put together a really well thought out presentation- the material was clearly divided into sections, the links were mostly strong, and the videos helped to break it up and make it easier to engage with. You just need to pull this back into your practical work and keep making!

Tutorial with Jonathan 22/11/18

Tutorials, Weekly Summaries
  • We spoke about how my river project has taken up most of my time, and that I enjoyed having a structure in place from having deadlines for the metal pour, certain days of the foundry being open, and the deadline for the summer show to work towards- I felt much more stable having a rhythm to work like this
  • Enjoying the process of making, as well as the stability provided; learning to use power tools like an angle grinder was particularly empowering!
  • I have definitely developed my skills in sculpting whilst working with the wax, as well as learning how to make hot rubber moulds, how to make plaster moulds for the kiln, how to use various tools as mentioned, how to work with metal (which was entirely new to me) and how to apply a patina to metal. I am a much more confident sculptor as a result
  • Why do I record the processes via photography and video?
    – to aid my memory- as a result of my mental illness my short term memory is very poor, so recording the process is a helpful reminder, and I can always go back and refresh my memory if I need to
    – part of my desire to share the processes with others- I feel that when seeing final pieces of work, such as my sculptures, it can be very difficult to envision all of the work that has gone into each piece- by documenting my process so thoroughly it demystifies the artistic process and makes it more accessible for those who haven’t done anything similar before
  • Discussed that I am a little sad that my video game project has largely been on hold due to the demanding nature of the river project, and the fact that I need other people with certain skills- i.e. an illustrator and someone with experience in games design- to help actually make the game
  • I do feel, however, that my knowledge and understanding of the topic has grown over the past year- the #MeToo movement has provided lots of content online for me to read, watch, and engage with, and there have been a lot of stories in the media that have brought rape culture to the front of social consciousness in the past year, which I have been taking in and adding to my bibliography post over time
  • Do I need to put a structure in place for the video game project? Perhaps I should set aside one day or a few hours a week dedicated to research and working on the dialogue options/characters?
  • Should I set a deadline for myself to find collaborators for this project, in order to get it moving?
  • Holding multiple projects at once- what is this like?
    – I find it useful to have lots on as it helps me to manage my mental illness, although I recognise that on days like today it can be difficult to manage as I can easily burn myself out if I am not careful with balancing everything properly
    – Cross polination- I often find solutions to problems, or new ideas for a project whilst working on something else- it wakes my brain up and refreshes it a bit, which can help stop me stagnating on just one project
  • I prefer to see the artists’ process as opposed to just the final work- I much prefer studio visits over gallery visits as I like to uncover the thoughts, experiments, and failures behind the finished works- how can I incorporate this into my own practice? Perhaps by projecting my process videos in the gallery space alongside the finished work? Or could I find ways to represent the processes- i.e. using my hot rubber moulds to make casts in Jesmonite (a stronger version of plaster) but leaving the casts as they come out of the moulds, instead of removing excess material and working the details back in as I did with the waxes?
  • Emma Gradin- PHD at Chelsea, could talk to her in the new year, discuss my work, ideas, and presentation of the work in the gallery space- she deals with curating exhibitions, particularly without words, and she is interested in the artists studio and processes

22/11/2018 Online Group Tutorial

Tutorials, Weekly Summaries

Not feeling too well today, so I have joined the online tutorial group rather than going to class this morning.

Notes:

  • discussing the Yayoi Kusama exhibition and sharing photos
  • the relationship to Kusama’s paintings and Janet’s work- both paint flat, so the works have no “right way” up, but Janet said:
    it reveals itself in dialogue as it goes and tells its story back to me
    so I begin to understand it as such which corresponds to a particular orientation decided on in my final phase
    I re orientate to stay objective in the process, keep a fresh eye
    my eyes and mind easily become complacent so I keep sending myself off centre – all a remaking
  • Paola– she feels she has been spending a lot of time developing her 3D skills, but needs to spend more time experimenting to find her own style. She is currently making a visual response to a sound piece made by her friend.
    – the sound piece reminds me of a lab, or the inside of a spaceship lost in space- I can hear what sounds like static, fluids pouring and bubbling, an ambient background sound, and other noises I am finding hard to decipher, a definite sci fi vibe
    – the test pieces she has made on Blender are very abstract and beautiful, I much prefer the abstract imagery to the imagery that represents water/liquids being poured/splashed as the abstract images are less obvious, and are so fluid it is hard to believe they have been created digitally
    – inspired by the work of Nate Boyce
    – I like how layered and abstract some of the examples she has shown are, it suits the sound well, and whilst I appreciate what the others are saying about making imagery that opposes the sound, I think the imagery she has shown so far works well with it and I would personally stick to that
    – originally Paola was making an ocean on Blender, as that is what the sound inspired her to make, but she felt it was too obvious and decided to move away from that
  • Robin– I can definitely hear a repeated rhythm, it seems to change slightly, but follows the same pattern, it sounds like stones in a rolling can to me, or coins in a washing machine
    – the second piece sounds very similar but has less of a rhythm to my ears, the animation seems to match up with the sound well, and still manages to be abstract, despite it seemingly representing the sounds visually
    – I would be careful that this is what you are going for- do you want viewers to associate the sounds and their production with the visuals you have made?
    – Jonathan asked if how the sounds are made is important- I said I don’t think so, but the visuals make me focus on that, because I assume that the visuals are showing me what is making the sounds
    – it feels quite purposeful to me due to the repetition
    – I hope you continue exploring the relationship between the visuals and sound elements- I would be interested to experience further experiments- it seems like you have a lot of ideas to play with!
  • Anfal– using your paintings as a form of journaling, combining Arabic script with bold colours and imagery, very striking
    – the imagery would look beautiful translated onto textiles- it reminds me of the bold African patterns on fabrics, like you would see in Peckham
    – you could try the method where you paint onto paper and then heat transfer it onto fabric- LCF at Shepherds Bush has these facilities
    – alternatively screen-printing could be a good method to use- you can layer imagery really easily
    – “Kat your suggestion of screen printing is a good idea and adds a forced layering beyond the digital that can always feel like it can be undone” – Jonathan

Feedback for My Midpoint Review Video

Assessment, Tutorials

My Feedback

  • The part of playing with light and how it changes your objects looks interesting, you could try to experiment combining the art of light with your current idea. Unfortunately, I can’t recommend anything (at the moment tho) for reading or researching, but Tate Modern is displaying now some exhibitions about women if art and I think there should be something useful for you and your idea. Well done!
  • Archaeological- look at archaeologists and what has previously been found
  • Objects are supposed to be dead- bringing the objects back to life, what is my take on bringing them back to life
  • Links between bones and racial/equality themes, how does it link and why? Bones are always white no matter what your race, developing this link
  • Game- talk to people who make games, as I have no knowledge of it
  •  1 ARE OBJECTS SPECIFIC, SELECTED PURPOSEFULLY TO YOUR PRACTICE?
    2 WHAT IS THE RELATION BETWEEN THE FOUND OBJECTS AND THE SYMBOLISM IN REPRESENTING YOUR THEORY IN QUESTION; CLASSISM, RACISM AND SEXISM?
    3 IS THE LOCATION OF THE THAMES SPECIFICALLY SELECTED, OR IS THERE OPPORTUNITY TO EXPLORE MORE LOCATIONS IN FOUND OBJECTS?
    4 IN YOUR WORK, YOU RE-APPROPRIATE CHANGING THE STATES OF THE ORIGINAL THROUGH DIFFERENT PURPOSES, IS THIS TO CHANGE PERCEPTION AND IDENTITY. OF ONE OBJECT, BUT PRESENTING IT IN NEW LIGHTS TO QUESTION THE VIEWER’S INTERPRETATION?
    5 IN CASTING OBJECTS IN VARIED METHODS, WHITE IS USED COLOUR. IN RELATION TO RACISM, IS THIS SYMBOLIC FOR THE ARYAN RACE- WHICH THE NAZIS FOUND AS THE SUPREME THE “STRONG” RACE. IS WHITE USED TO THEREFORE REPRESENT THESE ISSUES AS YOU DISCUSS COLOUR TO EVOKE AND REFLECT THESE MATTERS?
    6 WHAT IS THE END GOAL OF THE PROJECT, IN RELATION TO WHAT ARE YOU AIMING TO ACHIEVE OVERALL, INTENTIONS?
    7 YOU CONDUCTED A SURVEY, IN DOING SO HOW WILL THIS HELP SUPPORT AND GUIDE YOUR PRACTICE E.G. THE PURPOSE?
    8 YOU GO FROM FOUND OBJECTS TO WRITTEN ILLUSTRATIONS, IS THE MATERIALITY OF YOUR WORK SIGNIFICANT AND CONTEXT?
    9 CLEANING HISTORY AWAY- BLEACHING AND CLEANSING PROCESS OF THE FOUND OBJECTS.
  • Kat I love the way you are focusing on objects
  • Kat – A contrasting range of themes, includes the tangible object and the sociological dimension. I am looking forward to seeing how these threads might perhaps be woven together in subsequent projects.
  • When you coated all of it in white it reminded me of this work:
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  • You showed an interesting path of regenerating found objects, the vacuum pieces catched my attention for sure, I think the bone-light videos are captivating. I would like to get more insight what your reasoning behind these works are. I found that bit by bit in your really personal blog-texts. Respect! There from I do understand your intent behind the video game concept. In a way it feels many things are parallel to each other. I wonder if you could integrate for instance the vacuum pieces and the bone-light imageries into the game and so on?
  • As having a conversation with Kat before, i like the enthusiasm and curiosity she has to try on new materials, and techniques. The vacuum you made create a dialogue of the materials you used to create your artwork with the objects you picked from riverside.
  • I just see your new macro photos of the found objects, very captivate! How do you feel and found the structure, textures you found through the macro view? What kind of materials presentation can you try on developing through these macro textures?
  • I also think that the way how the artworks are presented in future, the context it is present (open or closed space), all these will definitely affect your future installation.
  • Keep up the vibes Kat and I love your work!
  • It would be interesting how you can further explore the theme of time and light, sunrise & sunset – maybe research into heritage sites like Stonehedge, Hypogeum, Ggantija.
  • Kat – I’m really impressed with the range of technical skills you have developed so far, and your early experimentation with the vacuum forming in particular. I’m pleased to see that I’m not the only one who manages to break things. My mum told me the other day about SLIders, and people who’s electromagnetic energies cause technology around them to become disturbed. She reckons she is one, and although I’m not sure I believe it, it might be fun to do a project around. I’m not really sure what your project is about, or how some of the work you have been doing links with your ideas around feminism, so this might be something to consider honing in on. So far, your experiments seem cool, but a bit random. I’m not really familiar with what you do, so that is just my understanding from watching your video.
  • Kat I like the way you tries to change the form of the item you picked in the river and also the idea with micro-lens and the light moving. It just like making the object alive again. And I’m just thinking maybe can also make use of those items picked in river to reproduce a new work(?)
  • From looking at her blog she does reference Rachael Whiteread- which you can see the reference with the casts
  • your video was interesting giving footage of actual making – appreciated
  • the bones are the most interesting – video pieces are mesmerising
  • For me I reference surreal terrains and scapes
  • I wanted to hear more about the Game. Try Unity.
  • it takes it out of context- away from the subject- to a more abstract was great also seeing the videos- producing works fantastic processes
  • Your vacuum packed work reminded me of something another one of my students have been working with recently. Shes collecting rubbish, similar to yourself, and then coating them in a block of resin. The effect is really amazing, she’s jam-packed the container with as much colour, textured rubbish and the resin makes it a permanent piece of work. Frozen in time almost. Just be careful where you use the resin, its toxic and the fumes are bad.
  • Kat how you find the items and manage to restore them and select the items is both brave and truly captivating it was a pleasure meeting you at the low Residency and actually seeing these items ! Some date back hundreds of years . I like how you showed us the process and different ways of using such items. Good job and really interesting to see the direction you will take with this
  • Thought you might be interested in that http://sonialevy.net/hvalreki.html
  • I forgot to mention! The bacteria could be something you could look into??

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Thank you for all your feedback everyone!
Kat xx

Mid-Point Review (Comments for my Peers)

Assessment

I have included notes for each of my classmates below, in bullet-point format for easy reading, with their names in bold, to aid clarity. I hope my feedback is helpful!

Janet

  •  digital experiments visually engaging, capturing a moment in time, using painting
  •  the paintings/gifs reminds me of cell division
  •  strong awareness of own practice
  •  how do you see your paintings/digital experiments evolving going forwards?
  •  the word you created is very beautiful
  •  the gifs of the paintings almost become more interesting than the final painting- the development and evolution of each piece becomes a work in its own right
  •  have you considered projecting your gifs back into the environments that inspired them (where the lichens are) ?

Stephanie

  •  strong body of research- artists, case studies, books, and other
  •  very difficult to hear what you are saying
  • the print workshop you have set up is impressive, I hope you utilise it to its full potential
  •  you seem to rely a little too heavily on digital manipulation, when your imagery is very strong already- perhaps you need to take a step back and try to recreate your digital manipulations by hand, it would be interesting to see what you come up with through this
  •  layering different forms of print, using a photocopier, and other forms of handmade manipulation have potential to extend your work beyond the reliance you seem to have on the digital
  •  sometimes less is more!

Robin

  • the video format is quite unique, and engaging
  •  quotes moved a little too fast to read, would have liked to have read them to get a better understanding of what inspired your work
  •  strong awareness of your 3 key themes and concepts
  •  clear links between your research and practice
  •  the interactive nature of your work is shown well in the video, which is difficult to achieve
  •  you blend the digital into the environments effectively, but it would be nice to see what the people participating thought about your installations, and how it made them feel

Gabby

  • your blog is very visually pleasing
  •  extensive research, there is a symbiotic relationship between your research and practice, and it is clear how they feed into each other
  •  you might like the film Coco- it explores family bonds, memories, and the importance of photographs
  • your project has such a deep emotional connection to you, and this is key to your process
  •  the excerpts of research are well considered and add to, rather than distract from, your topic
  •  voices and sound could be utilised further in your work- it works really well in the video, and I would like to see more of your work involving mixed media, sound, and video, as you have done a good job of this here
  •  your work has a powerful, authentic message, that most of us can relate to in some way or another
  •  adding on to what Paola is saying, but also contradicting it- how can you express loss through the painting? Negative space can be utilised to express this
    – could you create a memory palace for a family member?

Arlette

  •  strong visual theme throughout the video- the video reflects the visuals of your work, which can be difficult to achieve!
  •  the theme of hands runs throughout- from your friend’s hand to your own hands in the videos of your ceramics process, and this is both sensitive and beautiful- it seems more about your journey through learning and making than the final pieces, which works very well
  •  the tactile nature of ceramics, and the unpredictability of the medium- pieces can go wrong in the kiln, they can go wrong on the wheel, and they are often fragile to handle. Can any of this be utilised for your pieces? can you better document these things that go wrong, and can they become finished pieces in themselves, despite their broken nature?
  •  also consider Japanese potters shown to us in the lecture by Maiko Tsutsmi

Kehkashan

  •  the quotes move a little too fast to read, and the font is not the most legible in this format
  • there is a strong body of research and experimentation, inspired by your surroundings and visual artists
  • your pop up exhibition looked very professional, and you should be proud of it!
  • your journal is an interesting idea and I would like to see it developed further- could the imagery you create become part of your mosaics?
  •  I enjoy your mosaics as they don’t all follow a narrative, as most people expect from mosaics- exploring colour and pattern is enough for some of your pieces
  • have you tired working with resin? It can be layered and become more 3D, although acrylic paints can also be layered in this way, bringing depth to your works
  •  you talked very fast, which was a little difficult to follow at times
  •  follow up on the idea that life is a mosaic

Charlotte

  •  It is difficult to hear you in the video
  •  your experimentation explores colour and abstract shapes, but I would avoid falling into your comfort zone if possible
  •  have you considered projecting your works back into the environments where you took the photographs?
  • the feedback you received from the survey could be further utilised
  • the ceramic pieces have something there- I feel moving into 3D using ceramics, laser cut plastic, acetate, or card could bring more depth to your project
  •  these 3D objects could be used as a teaching tool or in an interactive workshop to generate new compositions which can be constantly moved and changed by the audience- running an interactive workshop could be fun! And it would be interesting to see how children and adults interact- is there a difference? (Also large scale could be really fun and interactive!)

Anfal

  •  I feel that social media is overdone, but it is unusual to see it approached from a different angle, seen through a non-Western lens
  •  community bonding and political climate are viewed from the angle of judgement, an interesting juxtaposition
  •  have you done any physical manipulation with your imagery to compliment the digital manipulation?
  •  I feel that the photos should feel more natural and less staged, so photos taken out on the street will capture this better than staged photoshoots
  •  where/how do you intend to do your installations? and will you invite the subjects to see what you have done with their photos?
  •  there is a strong visual language throughout and I agree that narrative is important
  • consider an outcome for this project- what do you hope to achieve?

Dwa

  •  the music is distracting and made it difficult to focus on you talking
  •  you have been using group and one to one feedback to evolve your work and push it further, which reflects in your work
  •  I feel like your work requires more of a narrative to tie it all together
  •  The installation pieces are very strong and I feel this could be explored further- creating dream-like worlds for audiences to physically explore- perfect for bringing story books to life for children who are too young to read, or who have audio/visual/reading/learning difficulties
  •  I enjoyed working with you during the low residency, but there needs to be a little more depth to why you are making the work you are making
  •  I love the playfulness to your work, and the subtle animations work really well with the themes to gently bring them to life

Justin

  • The main problem you seem to be having is deciding whether you are a participant in your work, or purely an outsider setting up and documenting the experiments- perhaps this can vary piece to piece, depending on what feels right to you for each one- for example sending the recorder to yourself. Could you find someone else significant to send it to- perhaps a family member who relies on “old fashioned” technology, such as radio, letters, and analogue forms of communication?
  • you have a strong subject knowledge through your theoretical research, as well as exhibitions and artist references, which gives your work depth
  •  have you explored the effects of sound on meditation and other forms of self-reflection? Yoga, meditation and other forms of mindfulness often rely on sound/music or lack of sound to stimulate internal reflection, what is it about sound, or lack of it, that allows for this?
  •  I really like the idea of the sound divorced from the visuals, as a visual artist sound is always a secondary thought to me, and the absence of imagery is particularly interesting to me- especially when sending the sound recorder, as if you were to send a camera instead the viewer would still focus on the sound, as I am assuming the envelope would be totally dark- although light might occasionally come through- have you tried this?

Iris

  •  well documented public experiments, engaging with members of the public in a fun way
  • you demonstrate a positive and thoughtful reflection on your experiments
  • I would have liked to see a few more artist references (you probably have them but didn’t have time to fit them into the video)
  • the experiment works better without the video being used as external stimuli- it is more of an authentic reaction to the experiment when they are not being shown anything else
  • the installation in the exhibition was incredibly fun and my friends and I enjoyed playing with the balloons, as it lightened the serious atmosphere in the gallery space, and made us laugh, even though they were filled with normal air
  • retail therapy is an interesting topic, the idea of gratification through buying temporary happiness through possessions is no less genuine, but it is a product of our society. Your balloon experiments created an equally fleeting happiness, but it may have had a lasting impact on each person’s day
  • expectation can make happiness feel more hollow, if the feeling isn’t as long lasting or as absorbing as you hoped it would be

Paola

  • Unsure about your font choice (coming from Comic Sans No.1 fan)
  •  I feel that social media is an overdone topic so pushing it further into the 3D and installation makes it feel less stale, and more engaging
  •  why do you want to simulate what you make onscreen offscreen? Is there a reason for this?
  • The fabric pieces are striking and their fluidity adds something more, as your static sculptures purely reflect what you make on screen
  •  animated and moving image could bring your work further to life, perhaps videos of your fabric moving in the breeze or in water? as the photos of the fabrics are still static
  •  installing the fabrics and moving works into gallery spaces has a different feel to if you install them in outdoor settings- perhaps experiment further and decide which works best for your idea. The gallery space still has a feeling of curation that is present online in social media, whereas the outdoors has a different feeling
  • colour theory
  • if you want to truly break away from the screen you need to leave behind the boxes and rectangles and materials that mimic the screen- use curves, wood, explore other materials and shapes, to really bring it out of the screen and into real life
  • you can also screenprint onto wood/perspex or print photo etchings/ect

Lyu Wen

  •  clear research, and definitions of your topics
  •  I would like to see excerpts from your work, as it is harder to engage without seeing how your research has influenced your work
  •  it would also have been interesting to see clips/photos of your references, as again it is hard to understand their influence on your work without visuals
  •  performance art vs video art- is it more about your documentation of the works, or the performances themselves?
  •  clear evolution of your ideas, but the rebellious nature of your performances brought them to life, be careful not to lose that original energy!
  •  how important is the length of time to each piece? Do you plan out how long each piece will last before you do it, or is it more intuitive and decided as you do the performance? What role does the length of time play in each piece?
  • reminds me of Marina Abramovich

Ben

  •  interesting body of research, it is good to see clear visual inspirations for your work
  •  are we the gods of our own digital spaces?
  •  use of 3D scanners to create new digital works from a tactile origin- this juxtaposition works really well and I hope you continue with this
  •  have you considered then 3D printing these digital works, before 3D scanning them back into the digital realm again? It could further subvert the pieces, and would refer back to the original project that inspired it (using the scanner to create glitches)
  • an interesting topic of research could be mythologies- refers back to the busts, and also the idea of being gods in our own realms

Eugenia

  • where does the interest in furniture come from?
  •  strong visual experiments with photography and 3D software, but it feels like you lack a direction for your project
  •  the comedy videos are very entertaining and there is something there that you could develop further, should you choose to
  •  perhaps you need to stop seeking to change yourself, and figure out what it is that you enjoy doing- art doesn’t always need to have a purpose or meaning, sometimes merely the act of doing it and enjoying it is enough
  •  it feels like you are putting a lot of pressure on yourself to generate work that makes sense and communicates something, which isn’t always necessary
  •  your ideas and work has a strong visual language, but your design mindset holds you back from your full potential
  • That sense of fun and playfulness in some of the ideas you have shown can definitely become something more, and has a lot of potential

Nadine

  • self editing, how can you approach this topic in a new way?
  •  clear visual language, taking small sections of social media and enlarging them, using the formats of social media
  •  prayers in comic sans- I love it!
  •  I feel like there is too much of a negative portrayal of social media and the internet, and how we consume media, what are the positive effects it can have on society and the individual? This could be a different angle to view it from
  •  A single idea could be focussed on and explored further- pushing it beyond the confines of what it currently is. There feels like there are too many disjointed ideas, none of which have been explored to their full potential
  •  It feels like there needs to be more research into whichever idea you end up going with, to give the project more depth and substance, beyond the visual experimentation

Vanessa

  •  Video clips work well to illustrate your ideas and themes
  •  deconstructing your images and reconstructing them in 3D could be a route to try
  •  exploring painting whilst restricted by time,
  •  the video experiment works well
  •  your references are clear and the influence can be seen in your work, although you may want to try and move away from such a direct influence in the future

Alena

  • strong visual style, paired with music the animations/films work well
  •  moodboards communicate your references clearly
  •  printing the eyes onto acetate would allow the light to pass through more clearly if you intend to continue playing with light and shadow
  •  Eyes and light and shadow would be an interesting juxtaposition as eyes cannot have a clear shadow, you could also research how eyes take in light and play around with that in our work

Vivian

  • Estrangement of the familiar- this phrase has something, and could be explored further
  • Escapism as a topic, how does it relate to the modern world?
  • The animations and video clips work well together- the video is very well made!
  • I am unsure how I feel about your depictions of fat bodies, as a fat person
  • The combination of the everyday overlaid with your imaginings and dream-like imagery works really well, how can you bring this into the real world?
  • Narrative seems key to your work, so I feel you should build on that, and allow your research to take you to new places with your work

Lee

  • I like that you have used a text to voice generator to narrate your video, the interaction with the digital works well
  • The references are well presented, and your explanation of data art was informative, as I wasn’t previously sure what it was
  • You spend a long time talking about your references, and I would like to see more of your own work, as the influence the references has had on you
  • Speaking about the journeys you have navigated from fine artist to designer, and back again, speaks to me, personally, as I have faced a similar journey, but I agree that these journeys make our work and processes stronger
  • I would like to see your process, rather than just the final pieces, as I find I am unsure how you reached the final outcomes, and often the process is just as fascinating as the finished pieces
  • I also would have liked to hear your sound experiments within the video, as it is hard to imagine abstract sounds without any idea of what they might sound like
  • You seem to have a clear direction you wish to progress towards, and I look forward to seeing/hearing what that might become