SLIDE 1 - TITLE
SLIDE 2 - RESEARCH
Starting off talking about research because it’s where all of my projects begin, and that’s how level 5 began for me.
For 504 we had to research an author, and I think my approach to this really helped me to become immersed in that module and get the most out of my subject matter, but also ended up informing my practice.
For 504 we had to research an author, and I think my approach to this really helped me to become immersed in that module and get the most out of my subject matter, but also ended up informing my practice.
The breadth of projects and creative endeavours Burroughs undertook was really interesting to me.
They weren’t just an author, they were an amateur photographer, experimenting with the medium, cutting up photos,
Bringing this cut up technique into his writing to create experimental works of fiction from newspaper clippings
They weren’t just an author, they were an amateur photographer, experimenting with the medium, cutting up photos,
Bringing this cut up technique into his writing to create experimental works of fiction from newspaper clippings
This approach to everything he did is very exciting to me
SLIDE 3 - VISUAL ART
To find out that he also dabbled in creating visual art was also very fascinating.
Expressive paintings, to paper cut-outs and stencils, shotgun art where he would shoot holes into a canvas, and photo reflection experiments.
There was no end to the things he created, and I got the sense that all of these other pursuits were just an extension of his writing.
Expressive paintings, to paper cut-outs and stencils, shotgun art where he would shoot holes into a canvas, and photo reflection experiments.
There was no end to the things he created, and I got the sense that all of these other pursuits were just an extension of his writing.
Maybe this is multi-disciplinary approach is something I could consider applying to myself, how can I expand on drawing? Can I combine it with other ways of doing things? Could I push it further than just what is expected of illustration?
SLIDE 4 - PROFESSIONALISM
This has been a much more prominent part of Level 5, and something I’ve struggled with.
The ideas I have about professionalism (aside from being organised, on-time, hard working, etc etc) are very corporate and commercial to me, which is something I don’t think I fit into, and something I’m not comfortable with. Like I don’t see my work ever being in John Lewis or somewhere similar, and I’m doubtful that designing a range of decorated tea towels would best fit me and my work.
So I was thinking, can I redefine this for me? Can I be professional, and still maintain my tone of voice?
However, just because my work isn’t on-trend doesn’t mean it can’t be commercial at all.
Instead of changing my work to fit into industry areas, I can find places and projects that compliment my work and align with my interests and what I want to do.
Instead of changing my work to fit into industry areas, I can find places and projects that compliment my work and align with my interests and what I want to do.
SLIDE 5 - 505 APPLICATIONS
505 was sort the first taste of putting my own illustrations out into the world, even if it was just through proposed ideas.
I found this really beneficial, because you really had to consider what contexts would be most appropriate.
Up until that point, my illustrations had just existed within the walls of the studio, or between the pages of my sketchbook.
Applying them to real world contexts really demonstrates the possibilities, and makes them seem so much bigger and impactful.
Applying them to real world contexts really demonstrates the possibilities, and makes them seem so much bigger and impactful.
SLIDE 6 - TIMESCALE
Tying in with professionalism is this idea of timescale; this concept that you have to leave uni in a year’s time as a fully-formed, pre-packaged practicing creative.
I don’t think this is right, for me especially. I think it’s important to take time to develop what I’m doing, and see it as a thing that is always changing. If something is finished at this point in time, where can it go in future?
I’m not expecting to leave with all of my questions answered, or all of my dreams achieved.
However I would like to think that I will leave with more of a willingness to seize opportunities, to keep on learning and creating,
and to become aware that there are lots of possibilities out there and be confident in just giving these things a go.
SLIDE 7 - EXHIBITIONS
Thinking about exhibitions, and visiting them has informed my work this year, as well as my attitudes towards illustration/visual art,
Particularly two that were on when I visited the Stedelijk museum.
I don’t think any other exhibitions or institutions have had this much of an impression on me.
I was really inspired not only by the shows that were running at that time, but also the ideas and values behind the space itself.
It felt really open and welcoming to anyone and everyone. It wasn’t this stoic, restrictive space, I didn’t feel out of place.
SLIDE 8 - SANDBERG: DIRECTOR AND DESIGNER
This exhibition in particular had an impact on me.
It showcased the design work of Sandberg who was the director at the Stedelijk between 1945-63.
It was an unusual activity for a director to produce all of the visual branding, advertising, journals, and so on.
He also made it his aim to lower the threshold of the museum, to be a more accessible place for all; introducing a reading room, auditorium, and cafe.
Another thing I liked about the museum was how under one roof they had paintings, sculptures, things typically associated with ‘fine art’.
But also furnitiure design, prints and poster art, textiles, ceramics, very design-oriented stuff. This mixture really appealed me.
So a combination of functional art and decorative/conceptual art.
His designs have such a distinctive character to them, experimenting with image, type, and unconventional layouts.
It was also interesting how the posters and printed matter were displayed on the walls, behind glass cases, works of art in their own right.
One of his golden rules for making posters was ‘every poster has to be an artwork’ which was #5.
This really resonated with me, and links to my interest in Polish poster art this year which I want to explore in COP 3.
One of his golden rules for making posters was ‘every poster has to be an artwork’ which was #5.
This really resonated with me, and links to my interest in Polish poster art this year which I want to explore in COP 3.
SLIDE 9 - JEAN TINGUELY: MACHINE SPECTACLE
Machine Spectacle was showing at the same time I visited, exhibiting the works of Swiss painter and sculptor Jean Tinguely. A quote from him in the exhibition was ‘I don’t know if one can be operative without drawing’. He really pushed what it meant to draw and make, and wasn’t just restricted to the title of ‘painter’ or ‘sculptor’...
SLIDE 10: DRAWING MACHINES
He had created a number of contraptions that he called ‘Drawing Machines’, that would hold a drawing implement and make marks on paper. Quite controversial at the time, but I think it was interesting to see drawing as a ‘process’ The machines became the artists.
SLIDE 11: DRAWING MACHINES
With his drawing machines and other kinetic machines, he involved the viewer through the use of buttons and launchpads that set the machines off. Some made funny noises, or moved oddly, and were meant to make people laugh. Which I think is quite interesting in the serious setting of the gallery.
SLIDE 12 - CONCERTINA, VHS, AUDIO
I also enjoyed seeing his collages, concertina publications, even VHS tapes that were recordings of sounds made by the machines. The way Tinguely works across so many different formats, disciplines, and contexts is very interesting to me.
SLIDE 13 - MARK BEYER: WITH/WITHOUT TEXT
An exhibition I read about was With/Without text, which was held back in 2013 at the Urban Arts Space in Ohio, U.S.
It was the first ever retrospective of works by underground cartoonist Mark Beyer. Although he’s known for his comics about characters Amy + Jordan, as well as various publications, and features in Art Spiegelman’s RAW magazine, the exhibition was an accumulation of comic strips, silkscreen prints, animated shorts done for MTV’s ‘Liquid Television’ in the 90s, large plexiglass paintings, as well as dolls and other 3d objects.
It was the first ever retrospective of works by underground cartoonist Mark Beyer. Although he’s known for his comics about characters Amy + Jordan, as well as various publications, and features in Art Spiegelman’s RAW magazine, the exhibition was an accumulation of comic strips, silkscreen prints, animated shorts done for MTV’s ‘Liquid Television’ in the 90s, large plexiglass paintings, as well as dolls and other 3d objects.
SLIDE 14 - MARK BEYER EXHIBITION
The exhibition was curated by a longtime collector of Beyer’s work, Thomas Wagner.
My interest in this not only stems from my like of Mark Beyer’s work, but the element of curation and how the exhibition was set up most likely out of passion and from a personal interest of the curator, rather than a public demand.
My interest in this not only stems from my like of Mark Beyer’s work, but the element of curation and how the exhibition was set up most likely out of passion and from a personal interest of the curator, rather than a public demand.
Similarly with Sandberg, and Tinguely, I like how all of these different types and formats of visual art are sat under one roof, yet they are linked together by the themes, an aesthetic, or the maker.
SLIDE 15 - CAN I DO THIS?
So to summarise ‘exhibitions’, not only has visiting them changed my thinking.
But I have became interested in how an exhibition acts as a platform to show work and ideas,
Also interested in how things are curated - how connections are made between themes, and how a structure or narrative is given to an exhibition.
Also interested in how things are curated - how connections are made between themes, and how a structure or narrative is given to an exhibition.
It has also made me think of ‘what deserves to be in an exhibition?’ At the Sandberg exhibition, posters and museum journals were framed like paintings, like ‘real’ works of art. In Mark Beyer’s ‘With/Without Text’ his publications, comic books, and handmade dolls are set beside plexiglass paintings and silkscreen prints. This is important to me, as ‘comics’ and ‘cartoons’ are often seen as a low form of art.
Also how an exhibition can be inclusive - look at Tinguely’s work, involving the audience with buttons, sounds, and visuals. Having an approachable tone of voice.
But as well as that, I’ve also thought ‘could I do this?’ ‘could I put on an exhibition?’ so maybe this is something to research further in future and see how it could be made possible.
SLIDE 16 - PROCESS
So when talking about process, I mean the ways in which I do and make things.
Linking back to Jean Tinguely’s drawing machines, I’ve been seeing drawing as a process.
For instance in the sketchbook, it’s a process of thinking and exploring.
In the print room or the studio, it’s a process of getting the look or tone right, making these rough ideas and concepts into pictures.
In the print room or the studio, it’s a process of getting the look or tone right, making these rough ideas and concepts into pictures.
Because of this lo-fi aesthetic simplistic way of drawing I’ve adopted, it’s important that I focus on the process, the making of, the figuring out, because if I focused on the end product I would falter and worry about how it looked.
Process helps me to have the confidence to present work in a naive way. Because I can say ‘I’ve had fun making it’ or ‘I learned a lot’
SLIDE 17 - EXPERIMENTING
Experimenting with materials and media has been a big part of my process this year.
It’s an excuse to generate lots of material, have fun, and in the end collage all of the relevant pieces together.
Monotype in particular was a turning point for me. It combines print making with drawing. Every single print is different, it’s about what you draw in that moment, and the element of chance because you don’t know what your reflected drawing will really look like, what pressure marks and smudges will appear on the paper. It’s instant, and has a lo-fi appearance.
SLIDE 18 - NOT DRAWING PROPERLY
‘Not drawing properly’ has been an even BIGGER part of this year. It has been this internal battle between myself all year long.
Struggling to feel like what I’m doing is ‘good’ or ‘proper illustration’ but what does that even mean really?
I worry that people will be dismissive because of the lack of technical skill shown, or the childish aesthetic.
But at the same time, I have fun drawing like this. Being silly, playful, drawing weird things. I just have to remember all of the people I admire myself,
And how they often draw crudely or in a naive way.
For me, drawing like this is a way of not worrying about the outcome, not striving for perfection, because I worry way too much anyway!
I think this is why I do this now. Because it’s a way for me to just let loose at the moment of drawing, and worry later.
I think this is why I do this now. Because it’s a way for me to just let loose at the moment of drawing, and worry later.
SLIDE 19 - WORK HAS CHANGED
On the left are some of my outcomes for last year’s ‘Person of Note’ brief.
Compared to what I’m doing now, it could not be more different. People look like people, the things look like real things.
It’s much more controlled and ‘representational’.
However at the right is my visual diagram from last year’s PPP. This was the turning point for me doing non-representational drawing, as the objects are a bit wonkily drawn
SLIDE 20 - ALT-COMICS
I tried to expand on what I have already read in terms of alternative comics and graphic novels.
Part of why I’m drawn to them is down to their unorthodox story-telling methods, and their bold aesthetics.
I find them to be very inspiring, and they break the boundaries of conventional narratives and what can be done with visuals.
I find them to be very inspiring, and they break the boundaries of conventional narratives and what can be done with visuals.
Their subject matter is so diverse they can be difficult to categorise. Ranging from intensely personal auto-bio stuff, to factual retellings of world events, to dream-like fiction.
Design choices such as covers, inside pages, double page spread, or even fold-outs and insert materials also make reading a book extra special.
This consideration causes the reader to interact with the material, as well as the creator adding another dimension for the audience to explore.
This consideration causes the reader to interact with the material, as well as the creator adding another dimension for the audience to explore.
SLIDE 21 - PUBLICATIONS
Not only did I like reading various publications, but I enjoyed making them too.
This was one of my outcomes for 504, based on my research on William Burroughs.
Putting together a publication is quite rewarding, as you end up with a finished physical product that others can pick up and read for themselves.
That level of interaction is an interesting factor; you can choose to make people laugh, confused, or scared.
It was the accumulation of all of my prints, drawings, and other work, boiled down into 20 pages to try and communicate the
atmosphere I picked up in my research.
SLIDE 22 - BATSFORD BOOKLET
Similarly with my submission to the Batsford Prize, I tried to create something that went that little bit beyond a simple flat image.
The theme was ‘interpreting nature’, so the pages of the booklet act as a series of sequential images, with the poster being the final big page of sorts.
At the time I wasn’t happy with this outcome, however looking back I think it’s a simple idea that takes a look at the theme in a close-up, small way.
SLIDE 23 - NEXT YEAR?
So all of the stuff i’ve mentioned has happened over the course of this year.
But it’s hard not to think about Level 6 when it’s pretty much on the horizon. I’ve been thinking about what I want to gain from level 6, and what I can do to make the most of next year...
SLIDE 24 - EXPERIMENT MORE
I’d like to keep on experimenting. Using the facilities, asking for different inductions, playing with media, how I make things.
Who knows, maybe I could find something that really changes how I work and the type of things I make.
Who knows, maybe I could find something that really changes how I work and the type of things I make.
It’s important for me to just keep playing and keep that creative momentum going, and not get in my own head too much.
So keeping this open approach to making will hopefully help me in that.
I want to be more ambitious with my work. How I make it, how it can be presented and displayed, what I can actually do with it.
I want to try and build up an expansive body of work that ranges across lots of formats, and maybe even generate lots of finished outcomes.
Being more ambitious means just going with an idea, no matter how big it is and now down-playing things out of fear.
SLIDE 26 - SEIZE OPPORTUNITIES
I want to seize more opportunities. Responsive, as well as the exhibition were ways in which I could push my work out into the world.
I want to become more confident in doing this, and try and take on even more opportunities and projects.
I want to become more confident in doing this, and try and take on even more opportunities and projects.
Not only will this help to generate more work for myself, but I think it would be good practice for myself in getting over that fear of
Submitting to competitions and live briefs.
Submitting to competitions and live briefs.
SLIDE 27 - THANKS!
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