Continuing on (Field project)

Following my tutorial with Ingrid this Monday I began to expand on the research and pictures I have collected as influence to my final piece for the field project. For this task I have decided to combine the architecture and shape of Cardiff where I am currently studying and Newport where I currently live to link with the idea of my final piece which follows the idea of a changing city and a changing environment such as travelling to and through from university on a regular basis most days of the week.

Here are just a few of the many examples of images I found on Google that highlight the architecture and shape of the city of Cardiff as well as from Cardiff Bay.

Hopefully I will be able to collect a high quality selection of photographs from my own camera to use and manipulate to form the basic template Marquette of my final piece for this project.


Feedback for city project (individual)

Today’s feedback with Ingrid for my individual tutorial was very helpful and has directed me in a more beneficial path for the creating the best possible look of my final piece on the subject of the City under the definition of Power and Technology.

My proposed and eventual final piece for this subject is an installation/sculpture piece that takes aspects of the city of Cardiff where I am studying for the next 3 years and Newport where I currently live and I will be focusing in particular the architecture and the shape and composition of the buildings old and new. And the aimed visual piece I hope will be a cityscape of broad variety constructed into the form of a person from the waist upwards.

To achieve this I constructed a really rough Marquette in blue foam to highlight the shape of the intended final piece and highlight at this stage the strengths and weaknesses of not just the look but the outcome idea itself.

From this tutorial I know that the concept and the idea is great but further development is needed to move the process to this stage. To accomplish this I will take more images on my camera of architecture and building shapes from around Cardiff and Newport and photocopy these and physically place them on a chuck which is a solid shaped piece of plaster which I will be learning to make and manipulate in my lathe induction in the next few weeks.

As well as this dependant on the time left to complete all the work there is a possibility of a short animation depicting the process of this pieces creation.


Revealing the language (pdp)

As part of todays lecture of using drawing as a material and the base elements of such materials, we individually drew a shape on a piece of paper in this case a circle using the desk to keep on the pressure, then we were asked using a buddy to draw a smaller or larger version of that exact shape whilst your buddy was holding it in the air which is a pain needless to say to do. Using this I selected a few materials and processes to meet the requirements of the task being asked:

Paint on surface – painting on a smooth surface

painting

Painting on a surface the artist can control to extent but our reliance depends on whether the paint will run, more paint will build in some areas more than others or become significantly darker and lighter in some areas over others. making this material controllable to our individual needs but uncontrollable to extent when used.

Throwing a pot – throwing a pot on a wheel

potting  pot 2

Of all materials so far throwing and the clay used in the process has been the most difficult with the first image depicting the correct way of forming a pot and the second another type that is a mix of made that way or gone that way as the clay becomes unstable making the material with practice and patience controllable but also a lot of trial and error making the potter have varied control over the success or failure of the outcome.

Cutting glass – cutting sheet glass using cutter and frit crusher

cutting glass

This process just like most for artists in all fields is a 50/50 chance of working, when working in glass in comparison to drawing the cut isn’t always straight and when removing a piece runs the risk of cracking or breaking the rest of the sheet . With practice the process becomes easier but not always does it work so I would state this is something about the material that we have no control over.


Raku glazing bisque fired

Kierren Barnfield's photo.Kierren Barnfield's photo.Kierren Barnfield's photo.Kierren Barnfield's photo.

Today I began my induction into using raku clay and the process of making an outcome is the material the firing processes, techniques for creating patterns on the clay and examples of what the work could look like when bisque fired, glazed and then sandblasted. and the joy of it all is through each stage you have no idea what is going to happen next. This is going to be wicked.


Constellation week one Thinking through drawing

Embodied Experiences in Art and Design

The first constellation topic for expressing the unseen aimed to make us start thinking about how our experiences as an artist designer or maker in any sense shape our interpretation and thinking of the process of drawing. as the first session I wasn’t entirely sure if I am honest like most of what has happened this year how I would do and how I would interpret but I was pleasantly surprised that what I was being shown and taught I was already to some extent already doing just hadn’t realised I was doing.

there were many key facts from the presentation that I took a way such as drawing v.s photo

Taking this example photo individually our mind-set would tell us one must be correct and it that case one must not. But looking deeper into the background of the first image I discovered that this is a woodcut piece of Castel Sant Angelo, Rome (1557). and the second image was taken at a much later and modern date. From this I discovered the woodcut piece was created by an artist that hadn’t actually visited or seen prior to the piece what the location actually looked like so the design is from description rather than reality.So logically which would be correct in sense both would be.

image 1 image 2

Visual Hegemony

I have never heard of visual hegemony or what it even means but from today I discovered it is a form of unconscious experience, where the eye observes an object before actually seeing I, much like interacting before physical interaction. so the hand and eye interprets different views of the object and find common data. And from this I learnt psychologically touch is the unconsciousness of vision that deciphers the sense qualities of the viewed experience.

Perimeter of experience

A diagram showing how our mind, our body and our world are different stage of our overall expressive human experience.

perimeter of experience

Interpreting the body with the mind

And finally the idea that as we go through life we can be aware of what we see but not be aware of what is happening, so seeing with our eyes is more than just seeing. in order to see something from the location of the person to the location of the object the body must manoeuvre itself to see the object such as the eyes moving causing the angle and he head to turn and as a reflex the rest of the body.

From this constellation lecture I now notice I think more about my visual and interaction experiences within my work than I did in the previous term and I hope with this mind-set in mind for the foreseeable future of the course I will be able to achieve a higher level of work and be able correct some previous problems and maybe identify some before they become to much of a problem.