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| Lali Chetwynd- Spartacus |
TUTORIALS AND GROUP CRITS
Jo Lansley, Oran O'Reilly, Brigitte Jurack and Kit Craig.
I have had 3 tutorials since last assessment but unfortunately I haven't had one from my tutor (B.Jurack). I think the most helpful tutorial was from Kit Craig, because he gave me the idea of using gypsum as a base for my work; bringing the landscape with them from Northfield quarry. Jo also pointed me in what options I could have if I worked with film (e.g. A narrative piece, theatrical, prolonged suspense?). I want to re-shoot the films because there is more scenes that I wish to shoot, so I'm going to make a storyboard of what I want to film. Jo also advised me to look at Matthew Barney (which I already had) and Lali Chetwynd, because of their theatrical nature of there artworks, a nonsensical story-line.
I also had a few cross course crit with the painting students, which was interesting because we don't interact as much as I'd like. I think there would be more cross-course contamination if we were closer together and sculpture students new the codes for the painting studios. I think it must be hard for painting students that there work is all flat most of the time, and suggesting ways in which they can improve their working style makes me feel at a loss. In one of the Crits with Oran, we began to discuss how the Art School is run and how it always contradicts itself. I wish that the art school system was separate from the University because it wouldn't be continuously under scrutiny for having high results and not being efficient enough. That has really altered the way I think about art because it feels like we are continuously jumping through hoops and the inner self is crushed by what society wants.
Jo Lansley, Oran O'Reilly, Brigitte Jurack and Kit Craig.
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| Lali Chetwynd- Jabba The Hut |
I have had 3 tutorials since last assessment but unfortunately I haven't had one from my tutor (B.Jurack). I think the most helpful tutorial was from Kit Craig, because he gave me the idea of using gypsum as a base for my work; bringing the landscape with them from Northfield quarry. Jo also pointed me in what options I could have if I worked with film (e.g. A narrative piece, theatrical, prolonged suspense?). I want to re-shoot the films because there is more scenes that I wish to shoot, so I'm going to make a storyboard of what I want to film. Jo also advised me to look at Matthew Barney (which I already had) and Lali Chetwynd, because of their theatrical nature of there artworks, a nonsensical story-line.
I also had a few cross course crit with the painting students, which was interesting because we don't interact as much as I'd like. I think there would be more cross-course contamination if we were closer together and sculpture students new the codes for the painting studios. I think it must be hard for painting students that there work is all flat most of the time, and suggesting ways in which they can improve their working style makes me feel at a loss. In one of the Crits with Oran, we began to discuss how the Art School is run and how it always contradicts itself. I wish that the art school system was separate from the University because it wouldn't be continuously under scrutiny for having high results and not being efficient enough. That has really altered the way I think about art because it feels like we are continuously jumping through hoops and the inner self is crushed by what society wants.
