In the first few weeks of the course we’ve explored the way art, craft, theory and research intersect as the basis of a well grounded and supported creative practice. We then started to think about how we can describe our own individual practices.
James Turrell, Ronin, 1968 Fluorescent light, dimensions variable
In week five we will start by spending an hour going over and testing these statements of practice in the classroom. If you are having trouble with your statement it might be worth using the categories above to think through what you do. Ask;
What questions do you explore/ask as a function of your practice and how? (Art/Media)
What key influences, mentors, or peers inform your practice? (what questions does their work ask/explore?) (Context)
What set of ideas/theories do you work with, are your interested in working with, or which inform your practice? (Theory/Philosophy)
What aspects of craft do these experiments require, or which you have developed while engaged in this practice? (Your skills)
Jo Law, June 2014, Lithograph
Think about the story you are telling and how well it is supported by the works you have selected to include in your portfolio. What directions do you need to take this term in order to realise the image presented in your statement? What directions are presented by your existing portfolio? What is it that I am really interested in? What do you want to get better at? What type of work do you wish was there in your portfolio? Shape your description accordingly.
Once you have developed a statement in full, test it, by exchanging it with at least two of your classmates, recording, and incorporating their feedback?
When reading someone else’s statement assess the image that is presented? Is that image professional? warm? arrogant? meek? coherent?
Cardiff & Miller, Stormroom 2009
As we discussed in class in week 2 and 3 we will spend the rest of the workshop doing material research.
This is a chance to begin a dialogue as a group of practitioners. For that to work we have to be disciplined enough to make the DMC work as shared creative space – bring all you will need to make the most of the time together. Think about your work as a contribution to the group as much as to your own project. Don’t leave early because you’re not organised…. be organised, be disciplined, work within the time and space together. Care for each other and each others work.
Given all we’ve discussed over the previous weeks and the statement you’ve been working on and choose a work by one artist or maker whose work usefully explores an aspect of the theme ‘futures’ and whose practice informs or resonates with your own. Think back to the previous exercise. Choose a work that best serves to illustrate your interests.
Emulate, iterate, or adopt one aspect or strategy of this work.
If your mentor is a filmmaker – research an aspect of their aesthetic or style by attempting to emulate an instance of their work. If they are a composer – compose in the style of…… etc, etc.
The element that you choose might offer a technical challenge, a chance to practice or research a particular craft or technique, a chance to explore an aesthetic, idea or function. Be specific about which of these aspects you are focussing on – that is be specific about why you have chosen a particular aspect to work with and what your aims are in engaging (in) this work.
This work need not end up in your final work – its just a place to start and engagement with the materials and ideas you are interested in.
Be ready to document your work, to discuss it with your peers, and with Jo an I. Think about what the next step is? Another experiment, an iteration, engagement with another work?
Many thanks to those who donated to the Art Auction. The exhibition is at the TAEM Gallery in building 25 on main campus. It was launched for Open Day on Saturday and silent auction already began. Live Auction takes place on Thursday 24 August 2017 at 12.30pm. Remember to tell all your friends and family. UOW has the news story here: http://media.uow.edu.au/news/UOW236724