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