Site Venue Finale

Today was the finale of all three site venue projects. The day began in university, exploring the information critique artworks displayed all around the building, that each found different ways to disrupt and critique information.

Obstructed reflection was found in every location with a mirror for vanity within the School of Art and Design. The aim, to investigate into how we rely on our reflections. Coloured abstracted shapes, some of which were double-sided with different colours. What really attracted me was the abstract coloured shapes, as colour and form are two major focuses within my practice this year. I think the aim was to obstruct visual information and the way in which we see things. Instead of seeing a clear picture, my reflection was broken up by colour, only allowing me to partially see.

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The Discomfort Zone was taking place at Three Doors Up. An exhibition with a multitude of installations and activities to make the audience uncomfortable, ranging from high pitched noises, to gross food, to the cone of shame. The concept of making the audience uncomfortable through the exhibition is really interesting.

Finally, there was the exhibition of my group, Ways of Exhibiting, in which we displayed our dioramas and shoebox exhibitions. It was really cool seeing all our work coming together, as everyone had created such different works. A couple of my favourites involved the use of changing colour lights and the used go collage. I displayed my diorama in the window of the exhibition, as it needed a lot of light, to make the colours stand out, and it was surrounded by plants as the diorama was inspired by nature and organic forms. It didn’t matter so much where my shoebox was placed as the whole concept behind it was looking an exploring inside of it.


Formative Assessment

Personal Statement

After visiting Venice at the start of the year, I decided to begin generating work in response to Teresa Lanceta’s ‘Rosas Blancas’, in which Lanceta took inspiration from her visit to Morocco. Her tapestries analyse repeating motifs, this concept of repeat patterns was something I particularly wanted to focus on, and is something I am still exploring at this later stage in my practice.

Since this starting point, my work has evolved from paintings of pure pattern and colour, and has started evolving into a series of screen prints, and the initial stages of sculptural ceramic work. I am especially enjoying creating my series of screen prints at the moment, in which I have begun printing shapes I have taken from Southerndown and playing around with their composition and colour.

I have started to progress my work into ceramics, starting lightly by taking reliefs of different textures of the rocks in Southerndown, and how they vary as a result of the weather. I am currently really fascinated with exploring the idea of texture and interactivity. As of now I really want to move my work into the sculptural and materiality, as it is a concept I have never explored before. I want to experiment with colour and texture, and how the two can work together to capture a place. I want to really push my skills here and learn new techniques. I plan on spending a lot more time in the ceramics department to develop these skills. I plan on carrying on my screen prints as I think the two could compliment each other quite well, and I think it would be interesting to create a sculptural aspect within my prints if that it possible.


Continued ideas in response to original chosen artwork 

Material exploration

Site Venue: generating ideas

How field has influenced my practice

Screen printing progression



Influential ideas gained from key concept 

Robert Pepperell

Field artist that has influenced my practice

Site Venue contextual research 

Tutorial with Julia Hopkins

Field Artist Research and the Effect on my Studio Practice

Lubna Chowdhary

Lubna Chowdhary is an artist I looked closely at within my Home Truths Field module. Lubna Chowdhary’s work relates closely to my own practice both in intense use of colour and her motifs. She connects ideas and aesthetics from Eastern and Western worlds, exploring their relationship together. This is a concept I was considering exploring, after my artist talk with Julia Hopkins, as I was thinking about combining the organic forms I found in Southerndown with the intricacy and mathematics applied to the ornamentation of zillij I found in Marrakech.

Luna Chowdhary’s work is “a kaleidoscopic vocabulary of colour, shape and patterns” that “offers unlimited possibilities that can be implemented on any scale”. The use of colour and pattern has been a huge part of my own practice this year, therefore I think Chowdhary is an artist I need to re-explore as her work may be beneficial and offer insight for the development of my own practice.

I am especially interested in ‘Metropolis’ which consists of over 1000 small scale sculptures positioned in a line formation along a section of the floor in the V&A. This idea of sculpture is something I now want to draw on within my practice as I want to create a series of experiments where I play with textures and colours, and think a series of small sculptures would be a viable method for doing so. Chowdhary’s ‘Metropolis’ documents the material culture of our environment, showing the complexity of human production and the man-made. Her sculptures draw on memory, which is an idea that has a link to my subject work as my screen prints currently are of my interpretation of the effect of nature on the landscape, and act as a permanent memory at one moment in time for shapes theatre constantly changing. ‘Metropolis’ is an ongoing project that Chowdhary is still adding new objects to, to the original installation. I like this idea of the instillation changing for different viewers, depending on when they visit the exhibition, no matter how minute.

Robert Pepperell

After attending the seminar held by the fine art tutors of their artwork that stands outside their normal practice, I came across Robert Pepperell’s work. Pepperell spoke about how he had always struggled understanding his role and what he is doing as an artist, which I really relate to. I feel myself that I have no specific direction in which I’m going in or my own type of style. Pepperell talked about looking at paintings by Matisse, Braque, Newman and wondering why their paintings were so highly acclaimed as technically, they were bad paintings. This leads to the question, what’s the difference between a good work of art and bad work of art? The very reason you think a work of art is terrible, is why it may be so successful.

Pepperell’s contribution to the exhibition was titled ‘The Orange Problem’, which talked about how there’s no orange in the environment or the nerve system. Like all colours, orange is not actually there. The world is devoid of colour, the colour we see is generated by wavelengths processed in our eyes. Pepperell described how if you stare at a colour for a long enough time, it begins to turn grey as our visual receptors get tired. Pepperell also talked about colour deception within his own practice. He found that when he put a lighter orange on top of a more vibrant orange, it looked a light green. This is a really interesting concept that I really want to explore as I’m currently focusing my own practice on colour. I think it would be interesting to play around with optical illusions solely with colour. I could experiment with layering up my prints with different shades of oranges or blues. I may also experiment with this idea of a colour changing depending on its background by printing my orange Southerndown shapes onto various shades of orange, to see how or if it is perceived as a different colour at all.

Taken from Robert Pepperell’s website,

“Many of Pepperell’s paintings and drawings induce an indeterminate mental state in which what we see cannot be matched with what we know. Instead of recognizable objects the viewer is presented with — what the art historian Dario Gamboni has called — a ‘potential image’ containing a multiplicity of possible meanings, none of which ever finally resolves.

More recent work attempts to capture the experience of looking at objects in the world using a new form of ‘natural perspective’ based on the structure of human vision. The aim is not to record what is in the world, but the experience of seeing the world from an embodied point of view.”

I especially like Pepperell’s ‘Laws of Form’ series, which are meditative and contemplative, inviting the viewer to think about the nature of reality and existence. Pepperell used the image of the circle to represent the distinction between nothingness and something. What I especially like about the paintings, apart form the immense used of block colour, is that they are painted entirely freehand, requiring intense concentration and complete control of materials.



Most Influential Ideas learned from Key Concept


I have begun to feel like my work has started to fail as I am struggling to see a concept deep enough to allow my work to develop and evolve. However I remembered the key concept we had on failure and how it is such a vital attribute to eventual success. In the words of Samuel Beckett “to be an artist is to fail”.

Taken from this lecture I need to remember that failure is impossible to avoid. Through failure one has the potential to stumble upon the unexpected. Therefore my plan is to carry on with my current screen printing work and slowly think about ways I can adapt these prints. I also realise now that I really need to push myself. I want to begin making incredibly textured sculptures but need to be proactive in talking to Matt, the ceramics technician, as without guidance I will not have the initial skills to be able to do so.

In addition to this, I think I need to begin to really contextualise my work by looking at artists that work in a similar way and the concepts behind their work, as well as gathering information that links to my own current concept.

One art performance that really struck a cord with me was Jan Ader’s ‘In Search of the Miraculous’, in which Ader set out on a voyage from the USA to Ireland in a tiny boat. It was obvious that this Ader’s voyage would most definitely end in failure, but it was about the attempt, the strive for success despite probable failure. In some way this was a suicide mission, but in others it was just failed art. Jan Ader was never found, and the boat was found in pieces. Although failure is the key to development, you can’t set out to make work about failure. There needs to be an attempt at success, even if there is a minute chance, or no chance of it at all.

Following from this, this term I aim to be really proactive in my ceramic sculptures, I really want to explore form and its possibilities and not worry about failure. I think failure is a huge part of the ceramic process anyway, as it acts as a learning curve for following work.

Tutorial with Julia Hopkins

At the end of last term I had a feedback meeting with previous CSAD student, and current Royal College of Art student, Julia Hopkins, as I was feeling as though I was coming to a roadblock within my practice.

We discussed several topics surrounding my practice that I think are going to help me re-engage me with my current work which is exploring my interpretations to natural environments.

Firstly, my patterned work reminded Hopkins of the golden rectangle, the mathematical ratio that visually attracts the audience to artwork. I like to concept of creating artwork purely based off of fitting this “perfect” ratio with no underlying meaning. I want to research into and explore this idea further as having meaning and depth behind work is something I’m struggling to work with right now. I am much more interested in our visual perception and what makes something attractive to the eye. Although I am enjoying generating work inspired by Southerndown, visual attraction to artwork fascinates me and is a concept I want to have a deeper understanding of.

The other idea that I found really interesting was the notion of combining my current Southerndown work with my work from Marrakech. This idea of taking to polar opposite, the organic and natural forms from Southerndown, and combining this with the precise and intricate zillij ornamentation of Morocco, fascinates me. I don’t know if this will be successful, as the two are so far opposed from each other, but I think it would be an interesting concept to play around with.

I found talking to a practicing artist outside of the art school really beneficial and refreshing for the development of my ideas. Julia Hopkins was able to offer me new thoughts and opinions on ideas I had never even considered before. In this final term leading up to the degree show I plan on exploring especially the concept of the golden triangle as I have never made work based on aesthetic and visual value before and think it is an important concept I need to understand.

Site Venue: Robert Morris

I came across this photo of Robert Morris’ ‘Untitled’, 1967-8 and found similarities to my subject work looking at the landscape of Southerndown. ‘Untitled’ is made from a single piece of felt fabric with diagonal slits in it. What I especially like about it is that the work is never displayed the same. Explaining how to display ‘Untitled’ correctly, Morris instructed technicians to ‘spread and adjust the bottom pile of tangled felt according to taste (!) or photo’. I like this idea of being able to change the composition and the material being able to determine its own shape, and the interactivity the technician needs to have in order to install the work. It removes the stigma of art being too precious to touch.

Untitled 1967-8, remade 2008 by Robert Morris born 1931
Robert Morris, ‘Untitled’, 1967-8, re-made 2008.