Group Presentations- Feedback for Gabby and Arlette 24/01/19



  • “connection, or lack thereof”
  • connections shown in Gabby’s work, focusing heavily on family and familial connections
  • research into lack of connection
  • Gabby’s imagery is all beautiful and well thought out, with clear focus on composition and lighting to emphasise the subjects (or lack thereof) to convey a message
  • “when or where do you feel in tune with your most honest feelings?”
    – for me personally either when I am with my best friend or during yoga
  • your “honest feelings” change frequently and aren’t fixed – you could research why this is?
  • can you think too much? In modern society are we constantly putting off and distracting ourselves from our true feelings?
  • suicide is a very tricky and difficult topic to discuss and make work about and should be treated delicately, especially if it is not something you have personally experienced (i.e. loss of a loved one by suicide or experiencing suicidal thoughts/ideation)
  • Nitschke’s “suicide machine” – Sarco pod
  • do images always need text to explain them?
  • spontaneous v.s. staged, curated imagery
  • Gabby’s body of work is gorgeous, varied, and full of emotion communicated purely through image
  • photographers crossing moral boundaries- Gabby obviously has permission from her family to create her work, but other photographers often lack these permissions
  • Gabby’s work is authentic and powerful and she obviously carefully curates her images to convey the message she is aiming for
  • you recognise when outside influences have impacted your work and are honest about it
  • tackling sensitive topics with compassion
  • your work combines thoughtfulness and emotion with strong technical skill
  • how will you present your work? With or without text explanations? are the titles enough? Especially with the project about your friend
  • your work seems to be more about the feeling than the story- your work evokes feelings in the audience and encourages them to bring their own stories to your work
  • your work almost presents us with a blank story board or template, that we, the viewer, can insert our own stories into and bring our own feelings to
  • well put together presentation and I enjoyed physically handling your prints!


  • Why is art purely visual? How can we make art more interactive?
  • “Interactive” v.s. “Practicability”
  • sensory art- art that uses all the senses get viewers more in tune with themselves, the environment, and each other
  • how do we get the audience to interact with our work- this is something I am struggling with in my own work- most gallery goers are used to the unspoken rules of not touching the work
  • playfulness, familiarity/comfort, space, feedback- key to getting audience to interact
  • how interactive do you want to be? Yayoi Kusama’s Infinity Rooms v.s. Olafur Eliasson- are there constraints? What do you want, as the artist?
  • why do you want the work to be interactive? How?
  • online questionnaires, hashtags, paper feedback forms, “leave a comment” box/board, invigilating, recording the space, speaking to the audience in the space
  • art as a community- art can build a community, it can also exclude people from that community, or create a sense of community
  • Art is not just an object it is a sense of community” – Eliasson, 2012
  • “The turbulent storm of potential meaning” 
  • Object as a representation of the “individual” in Western society, interactive art steps away from that and encourages the audience to engage as a group rather than as individuals
  • strong body of research- it would be good to see more practical experimentation to back up or disprove the research you have done
  • interaction as a tool or medium to explore different topics
  • I would like to see more of your practical work and how it links in to your research topics (i.e. your paintings as I think they are amazing!)
  • your presentation was well put together, very interesting, and I think it would be cool to collab on a project some time, as we are both exploring the topic of interactivity in art

Group Presentations- Feedback for Vanessa

  • 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!