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

Tutorial with Jonathan 05/06/18

  • Secret Lives of Colour, book
  • Theodore Adorno- colour/white
  • reconciling the conceptual and the making process, balancing
  • Tim Pickup, papier mache work (Drag project ref)
  • Email Jonathan about video game and he will forward it on to MA Illustration
  • papier mache bones?
  • Could the drag crossover into the video game? Could I make characters for the game out of papier mache?
  • build my desk!!
  • work out how I will balance work, making, and research paper over the summer
  • 3D print branch, bones, bottle, brick, rope? Where?
  • final outcome + outcome of the show
  • Science- human and the mind, how the human mind works regarding disgust- BCC programme on it, check BOB, research disgust
  • research materials and perceptions
  • galleries and hospitals- why white?
  • does black enhance/dull some colours?
  • grey for Adobe programmes- why?
  • white primed canvasses, Pre-Raphelite, better for showing up bright colours

Mid-Point Review (Comments for my Peers)


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!


  •  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) ?


  •  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!


  • 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


  • 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?


  •  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


  •  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


  •  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!)


  •  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?


  •  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


  • 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?


  •  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


  • 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


  •  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


  • 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


  • 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


  •  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


  • 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


  • 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


  • 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

1 to 1 Tutorial 16/01/18


River Project:

  • moving away from vacuum forming as I feel I can get better casts in other materials due to the restrictions of vacuum forming, now moving towards metal, resin, plaster and ceramics
  • “The Detectorists” TV show
  • Mudlarking- how it has transitioned from a way for the very lowest of society to scavenge for survival, to a middle class pastime involving expensive permits and equipment
  • “Secret Lives of Colour” by Kassia ST Clair – reserve in library and read it
  • “Re-imagining Scott: Objects and Journeys” by Paul Coldwell – borrow from library and read
  • 3D scanning and printing- could work with some of my found objects
  • “Shop of Possibilities”

Perfect Victim:

  • focus on narrative, use simple, still illustrations and focus on the branches of the story and how player decisions affect the narrative
  • do interviews with woc, trans women, non binary people (who previously identified as femme/women)
  • use interviews as a base to write scenes in the game
  • Put call out for illustrator and games designer when ready