I waited a while between the last tutorial to write up my reflection on the feedback. This is partly because I have been very busy, and partly because its was worthy of significant consideration. In approaching Part 5 I was focusing more on my approach to work than on the finished result. I am planning, as discussed, going to create more work using this approach and possibly base much of my on-going work on the approach I’ve developed during this part. Where relevant I will update the cycle write up for the work I complete before submitting for assessment. If the new work is part of the best then I will include it in my assessment submission, and I would hope that there will be at least one piece that does.
I had hoped to produce a significantly larger body of work during part 5, but I didn’t want to keep delaying submission indefinitely. Since I was developing a way of working as much as a body of work, the part could literally have continued indefinitely. The cycles about the sea and Elbigenalp cross, for example, are morphing into a cycle about Cumbrian lakes and mountains quite naturally. The experimentation with different media has also developed into experimentation with acrylic and oil paints, and that is the start of a potentially very long road in itself.
Lightness in the work
A comment that was made on the Part 5 work is that it is “light”, as in the underlying white page is showing through far too much. It is partially to address this, along with my tendency to outline, that I started on the painting work. That was successful, with those paintings not having the outline issues of some of my other work. In fact, some of the properties that I enjoy in my work in charcoal I’ve found translate to paint. This is partially true of acrylic paints, but is even more so for oil paint.
I am still left with a challenge of building a better ‘body’ to my work when working in other media. I think this is less of a tendency in my charcoal work, and possible in pastels I can simply used a different colour paper as the base for the work. It is definitely an issue I will remain aware of going forwards, and work towards resolving.
My colour work is at a much less sophisticated level than my charcoal work. The following two drawings show the difference:
My tutor made a similar observation during our feedback call, including the fact that I have a tendency to draw with a heavy bias to local colour. This is something I am actively looking to address going forwards. This is partially theory, but much of this is learning to use the media I have available more effectively. As above, part of my work to move away from this tendency is an set of experiments in painting.
I have now signed up to my next course, which is Sculpture 1 as we discussed during the feedback session. I’m hoping that the general approach I’ve started to follow, in addition to the research I did on how sculptors use drawing, will be applicable to the course.
In terms of representational drawing and painting, I am planning to continue the current cycles approach in creating landscape work for the moment. My intention is to feed this into some sculptural work as well as continuing the drawing practice. The possibilities for the two to enhance each other intrigue me at the moment, and so I am keen to see where it might lead.