I have lots of constructive feedback to support the next phase on work, as I continue to develop idaes surrounding memory integration and fragmnetation; repeated journeys and the significance of gatherings.
Something that has emerged relatiely recently is the role that photographs can play in the construction of my work.
Photographs:
It's become clear that using real photographs of places, people and visits know to be are critical to application of my ideas.
Previously, I was doing thisngs like looking at other artist's figurative work or 'lifting' poses from lie drawing classes I attended and superimposing them into a more personal 'landscape' of a painting. While continuing both these things have their benefits in terms of strengthening drawing skills, they create an emotional distance from the work and it is this that I've identified as being central to it's integrity.
Although I was using imagery from my own memories to inform the places I was rendering on paper, it didn't occur to me to use actual photos intil this autumn (2023) and I'm really glad I've stumbled upon it. I've added some ideas to my work plan (below) that being with photos printed onto paper.
Some reticence remains at the thought of tracing a photo before printing it, rather than drawing 'from scratch' (although I think I will do this too) - but working with 'trace' actually links more strongly conceptually. Imprints, repetition, layering etc.
It's still possible for me to work into, add to, and excentuate these tracings of photos - so I'm seeing it as a good half way point.
Writing:
Another point that came up in the feedback was the question of written elements and how they could be incorporated into the fragments I'm making. I've done some creative wirting before and like the idea of integrating some text/words onto the work. I've got some poetry books in mind to read as well as plans to write as I walk (see work plan below).
This also hadn't occured to me, but I can see how well it links with the ideas of autoethnography:
The method of journalling is commonly used in therauputic practices, so again, it chimes well with the methods in which I paint and draw. Drawing out subconscious images and memories and placing them on paper.
Overall, I can see ways through what can sometimes feel a jumble of different things, towards an outcome. This outcome may change again over time - but I feel it's self perpetuating in a way reconciles well with the balance I want to strike. I feel relieved to have made this step towards more autobiographical work. It's starting to feelnot just about an expression of personal experience, but a dedication to it and to those who were part of it. This feels strengthening, even if the process to get there is emotionally draining at times.
Work plan January/Spring 2023:
With the feedback from my Unit 2 assessment, it follows naturally than a renewed work plan shows itself.
Working with photos - trace, mono print, transfer solution, encaustic wax, layer, overlap
Construction and deconstruction of paper fragments - concertina, grid, stitch, floor, suspended, circle - plus consideration of size, colour pallet and surface eg fabric
Writing - poetry research, written responses to repeated visits or visits over time, recording change and fluctuation
Artist research - Nancy Holt and Robert Smitson, Textile artist (name check), Carrie Stanley's 'visual grief diary'
Further reading -
Geological maps, geographical terms (trace, overprint),
Continued reading about neurobiology and memory integration, plus some occult and esoteric practices that link with this
Book - 'Stone: An Ecology of the Inhuman; by Jeffrety Jerome Cohen
Book - 'Home' by archaologist Francis Pryor
The Avebury Papers
Continued research into land, community, burial sites, ethnography and autoethnography (journalling)
Grief and loss- the act of processing