Installing my work…

Myfanwy and my colleagues from my space helped to decide the best order for the paintings. As when in person, and once their position was decided, it became clear that I needed to readdress their order. We decided on using the paintings that had a natural edge to them to be at either far side, as a kind of finishing point. The one placed in the middle was the image taken from a birds eye view thet had a central focus. Then the others fitted in depending on their colours and how they contrasted and matched.

I had to screw my battons into the wall so that my paintings could hang on them. I found most to be an easy install, however when trying to measure up the paintings against each other it was at times a real test of trial and error. As each painting had its batton piece screwed into it’s back, and because of their construction – each painting was individual to the other and consequently made it very difficult to get correct.

But with the help of Callum and others I was able to lay them out on the wall, equally spaced apart and at the right viewing hight.




No longer using ceramics…

After receiving my bisque fired pieces from the kiln I had to decide whether or not I would be able to take on the ceramics alongside the paintings.


Hence over the course of the last few weeks I have been juggling the two projects, and the more my time was split between them, the more unnatural the two ideas felt side by side. I made the decision not to continue with the ceramics as I had previously explored this already, and I felt satisfied with the depth of exploration. Whereas I had spent my foundation deliberately avoiding painting in order to try new techniques and materials, but it has instead meant that this time spent away from painting has made my need to use paint even more immediate.

The process and approach I had been using with the pastel sketches in my sketchbook had also felt so natural to me. This was my indication to concentrate on my paintings.

There’s something in painting that to me will always speak to me, as if another language, I can read into it and understand and feel the emotions and meanings within. Therefore, as I had chosen to paint refugees in this Romantic manner, it seemed only appropriate to be abstract with paint than to be abstract in meaning with ceramics.

Artists like Ai Wei Wei also made me feel like I couldn’t use ceramics, when I had no traditional background in them, and regardless of my physical style, I felt either outcome would not fit with my Romantic idea.


David Hockney Exhibition

I really enjoyed the Hockney exhibition, I found the evolution of his ouevre extremely interesting and motivating for my FMP.

I took note of his ever adapting style, and his innovative use of frames. In particular his piece – Tyger Painting No. 2 1960

It was mounted in a wooden frame, and it was set in an icnh or so.

Other works that I liked were ‘Colonial Governor’ 1962, ‘Going up Garrowby Hill’ 2000, May Blossom on the Open Road’ 2009, and ‘Garden’ 2015.

Image result for 'Garden' 2015. painting

Garden 2015 – The colours are immensely powerful and full of vibrance.

Henry Moore – Tate Britain

– Draped Seated Women – 1957-58

I went to the Tate Britain to see Henry Moore’s work in person. I had seen it before, but until now I had not fully realised my appreciation for his forms and workmanship.

His skill goes beyond many artists, he was constantly pushing what could be done to the figure and had produced many lovely results over the years.

I particularly liked his Draped Seated Women, and his Family Group (1944-5) series. Seeing all his various maquette for Family Group was extremely interesting. I could begin to understand how self critical Moore must have been, and therefore carried out with a very thoughtful and methodic process. Rigorous testing of maquette and initial drawings, supports this, and further clarifies my own way of working – to develop and research through the materials and the processes themselves.


Love/Hate Copenhagen



This particular room of Copenhagen Contemporary I feel like I will carry with me for the rest of my life. The feeling I felt in there was incomparable to any artwork or exhibition I have been to before. The whole experience, from the initial mystery of what was inside the room, to the very surreal experience of roaming and listening to the birds/guitars resonated with me deeply.


This too felt very profound. I found it disturbing and calming all the same, and enjoyed it thoroughly because of that. Once I finished the film and I then read the information/artists bio, I was then all the more amazed and intrigued by it’s meaning and significance.


I loved seeing how the early depictions of the northern lights were visualised through print and illustrations. The scientific diagrams were also of interest to me, as the phenomenon of northern lights seems best left protected and unexplained. (I also enjoyed the video with the Bjork song)


The theatre and story telling of his show was incredible. Every room I walked into was an experience in itself, and he never ceased to surprise me. I especially loved his homage to the Lumiere brothers, I felt I could have sat there for hours watching his silent films.


Never before had I seen live jazz before, and not only that but never have I seen my friends jam so well either. A night I will never forget.

‘The third best pub in Copenhagen’ was deeply comforting to me. Like a home from home, it’s beautifully full and cosy atmosphere felt very nostalgic and warming to me. It reminded me of a happy early childhood.





The city felt very spread out. Although things were within ‘walking distance’, the sizes of the tall building in the centre and long and large cutting roads throughout were very disconcerting to me. They opened up the city and spilled it of it’s population. There seemed to be nobody around, and I wonder whether this layout intentionally rations the population across the city or not. It made certain areas of the city feel very grim and emotionless.


On the train we flew through lots of small towns and villages on our way to Louisiana. On this journey we saw such a vast variety of houses, all kinds of shapes and sizes. Some large with extremely pointy roofs, and others packed together with the most extreme confinements of space and regularity. I found this juxtaposition and irregularity of housing deeply upsetting and horrifying.


Heavily disappointed with the breakfast provided by the hostel, but also with the tradition of ham and cheese for breakfast. It just didn’t seem right, sorry Copenhagen.


I felt the logic and ingenuity of Danish design cold and distasteful. Despite the fact I really appreciated the design museum, and the clever ergonomically design of some pieces, I still couldn’t get past the fact that their whole objective seemed to remove the fun and unpredictability of life.


For example, how people would walk very orderly, obeying the commands of the traffic lights and road markings. It felt like people lived by the rules and were loyal to it. It also seemed as if each person might just be copying the other, only to achieve the same boring balance and safety in their life.

Artefact OVADA Exhibition 9th-14th February


(Final works, ceramic forms)

The exhibition came together really well and was a great first experience into the gallery world. As part of the exhibition committee, and the publishing team, I felt fairly involved in every area, learning and adapting to real clients and real expectations was certainly testing but rewarding.

The preview night was also a wonderful treat, and I believed that the whole group put on a fantastic show. These skills will serve me well in the future, and I hope that perhaps these will form the foundations of later exhibitions with the OVADA gallery space and the Ashmolean.