1. Title
2. My Practice
3. Experimenting - with process, how I make images, content, how I combine ideas
4. Professionally amateurish - lo-fi aesthetic. DIY ethos. Poster based on quote from media professor Marshall McLuhan, from The Medium is the Message. High brow vs low brow
5. Tone of Voice - off-kilter sense of humour, usually dark or unusual subject matter. Here I interpret historical content of Irish Myth
6. Editing Process - beginning with lots of work and ideas, selecting and editing work gives a project form, once an appropriate format or context for the work is selected, a final outcome can be made.
7. Editing occurs with preparing a zine - deciding on design or page content, planning a proposal or selecting works to display/exhibit, or even 'editing' an idea into something more refined
8.Considering both the content and context of my work allows me to be all three roles. Artist - generating visual material freely, uninhibited. Curator/editor - being selective, decision making, creating a theme. Production - finishing an outcome, creating prints, assembling a publication, cutting and framing work
9. Editing and curating go hand in hand. Defined as _____. When thinking of what I liked, my influences, I looked around my room
10. Examples of curation; visual material, references, memorabilia, photos, experiences, influences...
11. Showing my interests in plain sight - history, art, things from home, objects from friends and family, music, films, books and publication...my possessions represent me.
12. I could see myself in all of these assembled items, and how they mirror aspects of me as a person and me as a practitioner
13. Relates back to my practice, processing all of these external sources, feeding into what I make
14. Influences from the wider outside world...
15. Ray Johnson - NY collage artist. Process-driven, DIY approaches to making, self-promoting, self-distributing...
16. The Portable February - David Berman. Humour, ambiguity, doesn't have a 'purpose', just exists as a collection of drawings. Visual poetry.
17. Paul Waak. Exists in many formats, his work is authentically him across print, publishing, exhibitions, editorial. The content comes first, context after.
18. Critical journal of illustration. Articulates discussions on visual culture and illustration, however includes art that is 'low brow' 'unfinished' 'lo-fi' in appearance. Importance of personal projects, not solely seeking commercial avenues.
19. Onfim. 13th Century bark drawings. Like the personal work in Limner, when does something become valued art? These drawings from 700 years ago weren't about commercial value. They have historical, anthropological, artistic value. Art is about documenting, understanding the world. Something very funny and human. Naive style.
20. Newspaper Rock, Utah. Similar to Onfim's drawings. Inspired by historical art like rock carvings. Native Americans. Art for art's sake, recording experiences, sharing with community. Ancient art is authentic, simple visual language, stripped back. Not about skill or finesse. Just about doing.
21. My interests and what I enjoy informs what type of work I want to make.
22. I think what media, culture, etc, you consume affects your output. I can see parallels between these references and values in my practice. Creating art your own way, utilising DIY processes and approaches to making. Immediate visual language, ambiguity, personal.
23. Last year's presentation I stated my aims for level 6 were...
24. To experiment more
25. To be more ambitious
26. To seize opportunities
27. I feel I've achieved these aims. I've grown in confidence about creating process-led, lo-fi work that doesn't have a crisp or clean look. I've pushed myself with ways of working, as well as with contacting organisations, pitching ideas to venues, and putting my work out there.
28. Future ambitions?
29. To continue developing and understanding my practice
30. Actively seek out events, opportunities, and ways of putting my work in the wider world
31. Becoming more involved with the wider arts community
32. To keep approaching venues, people, organisations with ideas
33. To become self-sufficient with producing work. Gather the equipment and resources. Become my own art factory. Self-reliant.
34. Thanks!
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