Week 11 on MFA

Mon 21st Nov – Fri 25th

  • Mon – Went to Brick Lane today where I delivered my work for the Abstract Art show which begins on Wednesday being the Private view.
  • The space itself is inter mate, so it is going to be interesting to see how my work collaborates with the other art works involved. Will there be comparisons?  Composed elements? – Any language being addressed?
  • I am very much looking forward to seeing my work in a show environment, and being a spectacle for the viewer.



  • Tues( Tutorial with Louise )A really great tutorial with Louise which helped touching ground and seeing where my work has progressed over the 2 months being on the MA. Aspects which were discussed include.(Lichen) – To research and  understand as it embeds within practice. (Robert Smithson)
  • – Not so much about his artworks but his writings – Including Entro P – Breaking down elements- Chaotic to an extent which means no turning back.
  •  Paraffin & Bronze casting works- Have a distinct animated graphic creation about the appearance. Paraffin wax on abstracted foundation surfaces –  Have a connection to both painting and sculpture worked in a more precise way. Much more detail and control can be witnessed within the art.
  • Work looks as though it has this new connection and correction between artist and artwork. Materials combining together but with the inclusion of paint introduces the artist back into the work. – This towing and throwing process between being in control and out of control during the same process.
  •  ( Abstract canvas works) – Look finished by the inclusion of just wax to the surface. There is so much about them already.  Paint added to the surface capturing the action / The event – Taking away the richness and this nurturing between artist and surface.Work looks very bodily – Creation of a series.
  • To have the series of  the painterly sculptural forms  capturing the action event  masked by the acrylic paint.
  • 2nd series ( Foundation surface already painted but with the inclusion of just Paraffin wax no paint involved.
  • 3rd Series ( Using found clothes ( T- shirts, Jumpers, Trousers etc) – Waxed with Paraffin wax thinking of a connection between body and form.
  • 4th Series (Using found objects / materials – waxed- highlighting this journey of the discarded object  becoming alive again, a new sense of life added to the product, something becoming new again.

  • Wed
  • ( Private view of Abstract Art Show – The brick Lane Gallery – The Annexe)
  • What a wonderful evening, the space became alive and I was very impressed with the installation of my art work, really creating this juxtaposition between my sculptural works hung on the wall and being layed across a plinth.
  •  All artists involved in the show attended the opening, and it was an absolute pleasure talking about there practice as well as my own.  I think there was an intriguness throughout the whole show, which made it that much more special.
  • my work in the show became very different more established.  I think eaxch peiece being positioned and becoming a product gave it that richness and a whole new character about the works.
  • I would love to be apart of another show in the future – And have this opportunity of meeting other artists and changing contacts and ideas.

Week 10 on MFA

Mon 14th Nov – Fri 18th Nov

  • Mon
  • Working with two new canvas foundations ( Both previous works from BA) – Abstract painted surfaces. – Involving colour into the work – linking an interesting connection between painting and sculpture.

– 1 foundation surface is worked with acrylic and the 2nd is worked with oil paints. – Both already highlighting an expressive emotion through paint. Looking forward to seeing the effect when an automatic expression through transformation of material is conceived. An old expression into a new one.

  • Is there going to be a new form evolving? Or is it going to be a new addition to this series of what is already happening?


  • Tues
  • ( Peer Dialogue with Andrea Gregson)
  • All involved drawing attention to the text ( The Emancipated Spectator)

– Was a thought provoking bit of text and made me think about my own work and how viewers can be read by being immersed in the work.

  • Participation with the viewer ( How can work be perceived by the viewer?)
  • Instruction within the artwork – Artwork can become someone else’s journey – Artwork can make the viewer shift and become apart of the artwork all the time.
  • Film in art does it become over analyzed?
  • Are we all viewers?
  • art is always a question! – Always worked on between 3 parts ( Artist – Art work – Audience.)
  • An artist should collaborate – Not just between the making process but the space which incorporates the working process.
  • Participation and interaction ( The actors involved are both artist and viewer. – 1 can not live without the other.)


  • ( Anthea Hamilton – lecture)
  • Very compelling talk from Anthea on her work and how she reads art. The main aspects which I took which I could portray into my own practice were.

– This reproduction with image making – Same process but subtle differences through each outcome.

  • Organised compositions – Images which tell a narrative  – More to do with a physical approach rather than a visual one.
  • ( Space) – Enables you to experience all range of spaces  -Lets you see how your work can function in different spaces.
  • (Image remakes) – How an image from an archive can be re-constructed, and become a new introduction and invention.
  • Nature of image is vocal – makes the space something new. The space is as much the work as the art product.

– Format of surface – what does it mean to re-make an object?

  • ( Tutorial with Andrea Gregson)
  • Great to have a tutorial and gain a new perspective on what is happening. – I get caught in the work so new thoughts on what could be seen as going on is always good, and enables new questions to enter what is already there. Andrea has rich knowledge with materials and their properties, so it was brilliant to have a chat about my own workings.
  • ( Key aspects which were discussed)
  •   Read a Great book titled – History of Making – Will help me store a better understanding of what the materials mean –  distinguish their prime identity  but also their ability to perform.
  • Artists to look at – Will Daniels – ( Tin foil models) Donald Judd – (Industrial art)
  • Discussed about moving larger in scale
  •  Working with space – Taking my works into a new surrounding – The works will become different.
  • Work with a range of materials – Possibly move away from wax – create this juxtaposition between sculptural forms and how they can be tangible against a more solid structural form – This idea of a wax form turning into a bronze form.


  • Wed
  • Updating personal website – Making it more clearer in the way of where my practice once was to where it is now. – Almost describing the process through visuals.
  • Forming a better layout – Wax works – Collages – Paintings


  • ( Research Webinar  – Andrea Gregson)
  • Great to see the works of Andrea – Was most intrigued with her interaction with materials and the relationship she forms. This is detailed by how she becomes part of the process as much as the materials.
  • How she works with space when it comes to exhibiting was fascinating  – To me it demonstrated this cycle of how each piece got to the relevant stage, and  how the work was supported by the space and positioning. The space gave a new dimension to the work.



  • Thurs
  • Working on a new clay sculpture
  • working with a subconscious motion which is how my work is shaped – Taking a certain amount of clay and sculpting until there is no more – No plan – Just using my actions to the relationship with the material . – Whatever results is when the questioning occurs.
  • Looking at the form which has been created it gives this interesting appearance, some kind of structure caving in on itself almost imploding.
  • Attachments and connotations to constructing and deconstructing at the same time?  The organic this form expanding out from beneath and growing out of an enclosed space.

Week 9 on MFA

Mon 7th Nov – Fri 11th Nov

  • Mon
  • Research – (Manipulation) (Actionism) (automatism) – How all can relate to practice. – Not just on the basic terms but how theory can be read on broader terms.
  • (Manipulation) – ( Watched film French classic Eyes without a face 1960)
  • People become manipulated to eventually become victimized and eventually murdered. To be used as a source and a material, to help restore back the face of a young girl.
  • Young girl disfigured face – Daughter of surgeon – Surgeon – Uses tools to sculpt and bring back an identity for his daughter – By taking away the face, skin graft of his victims to layer back confidence in his daughter.
  • (Automatism) – Automatism from the surgeon – so fixated and for the love of his daughter – The victims are not thought of as being murdered – But instead just as a means to get what is so very important to him achieved.

– On Autopilot – Not aware of his own actions. – Actions only notified once activity is complete. – Face is unrecognizable – To restore to make different for the better of a new outcome.

  • Connotations towards the ugly and the beautiful – A creator of new possibilities but an event of making a mistake and becoming noticed. A huge risk involved.



Canvas Trace, 2016, Canvas, Paraffin wax, Acrylic paint

  • Tues
  • Tutorial with Chris Jones at 1:50pm – very excited for feedback and a viewpoint which could lead to new analysis into practice ideas.
  • This morning thinking about working with ( Canvas, paraffin wax) – Foundation material – canvas covered in charcoal, oil pastel, acrylic paint and rubber to be mixed with paraffin wax – an automated action to be worked. – Action marks will then be identified and drawn into on the surface. This capturing of the event.
  • Excited to be working with canvas which already has this covering and material elements on it before entering the wax. Will a new reaction be achieved? It will give a different effect and mood to the work.


  • (Tutorial with Chris Jones)
  • Brilliant tutorial with Chris  – He was really engaged with my work and the movement of where the work may go.
  • I spoke about manipulation of surface – Chris saw the work more about transition in materials and this trans formative surface through a journey of processes.
  • This Autonomy  ( Organic being) ( Fossil like appearance) ( Scientific like experiment subjects).
  • He said it reminded him of the natural history museum – Resemblances of ancient fossils and pre historic creatures. Documents which have been sourced – these captured found elements.
  • I mentioned about the possibility of going larger in scale)
  • Chris through out the questions – Working larger in scale would take much longer. Think about time. ( He said he really likes these forms at the size they are, become more like subjects and easier to interact with.) ( Larger in scale could loose what they already have.)
  • Smaller in scale allows for quick effective creations – like a colony – Could become this event or showcase of these rock like gems.
  • Chris said that presentation wise they would look great on plinths, lots of them. And being presented in an odd like manner.)
  • Carry on working with lots of different materials. – Carry out this unknown formation each time. – Don’t want practice to become recognizable.
  • Work shows links to sculpture, collage and paint. – Possibly think about reverting between surface and material. Let the action become the product. The surface material without any foundation.


  • Wed & Thurs
  • Working on my blog combining ideas and corresponding images. Really like this approach.
  • (Research)  – Practice is a follow on from certain aspects when on my BA. -Materialisation – Trans formative actions – Converting contexts through a journey of actions.
  • (Other Contexts) – Mass production – organic features – Bacterial virus like form?
  • How could my work be presented?
  • Hung on the wall
  • Sat on a plinth
  • Positioned in a space installation
  • Lighting
  • Video or film?

Week 8 on MFA

Mon 31st Oct –  Fri 4th Nov

  • Mon

– Working on a new work in studio. – Canvas used as foundation material. – surface material collaboration between oil pastel, bronze casting wax and paraffin wax.

– Acrylic paint marks out any trans formative change in material. The converted action achieved through the combining methods of myself as artist and surface materials. Composing together to construct a new riff.

(Theoretical issues) – actionism & abstract expressionism)

– I am interested in the process not the product. -Constant layering adding and removing – constructing and deconstructing. – Journey through timed processes.

  • I am trying to create a better understanding of my practice. Trying to clarify what it is that drives me to work in this way. I believe my work develops through consistent questioning.
  • ( Engagement) (Form) (Appearance) (Working with materials) (To create something odd looking) (A natural reflection through industrial processes).


  • Tues

(Wax and Bronze Induction) – Important induction really can start progressing further.

(Wax) – Molding – Flexibility – Shaping

(Bronze) – Set form – Highlights this manipulating of surface but as a fixed construction.

  • Interesting juxtaposition between wax as a working material and then going into a stationary material in the form of bronze. A first initial stage of something temporary which can be changed, worked into, modified. To a second stage which is refined to an existence of not coming back from.
  • For me each stage shows the material performing – growing and evolving
  • It is a growth – Like a natural evolution
  • new possibilities happening all of the time.


  • Wed
  • Working on works for abstract art show. Thought about combining more of a transformation through form and surface by burning into the surface.

-Dis – coloring – Change of shape – Intriguing new property development.

( Research into manipulation)

  • Fantastic article on manipulation in materials
  • Children are the masters of manipulating surfaces.
  • How a child reacts with material/surfaces for the first time.
  • Learning through play
  • Imagination added to the surface
  • Can I link myself to a child when it comes to the assembling of my forms? – Playful approach, new aspects emerging through play. – Not about results just the excitement materials allow the work to have. – Masterpieces have created through a continuous development of exploring through materials.


  • Thurs
  • Discovering practice –  analyzing – context – method and theory which outlines my work. (Wax).
  • Interested in materials (Materiality)  – How a material can be shaped – Changing – converting – transforming by manipulating through actions  by myself and other contributing materials and processes.
  • My work is built through actions a physicality which allows for a transformation, and a form starting to appear. ( Sculptural actionism) (Unpredictable expectations) (A possible risk and hazard occurring through a performance).

– My work is very much hands on, I want to be apart of the work. I want to sculpt through subconscious actions. A force used to create a new  possible happening on and in the surface.

  • I pick out these created actions when this form has evolved. Painting into the creases documents this growth, this expression which has rose form beneath. I find that these form become very gestural, but something which looks living, very organic. Something which would not look out of place if positioned in the outside.
  • (Painting the creases) – Is this a language on the surface? – Marks are gestural, a gesture can be a language, a drawing. – Form made up through sculpture/painting and drawing.
  • Does it become a layer, a skin and identity which makes it something else. – It’s own occurrence – It’s own existence – It’s own colony or breed. Do I actually want to go down this route with how my work can be read?
  • I do like this organic feel to the work, this gloppy textural quality, This thing which can only be described as a form it needs questioning through discovering to be seen as something. Could it become an organism. Or is it a language through poetry a story being told through a journey.


  •  Fri
  • Working on blog – really helping as a reference source. – Application for jotting down ideas and a point of call to refer to when it comes to explaining and questions around my practice.
  • (Constructing collages through present works)
  • Working with rules which I have set when it comes to making collages.
  • Working from more up to date works ( Paraffin wax works)
  • Allows me to tie in a different process of layering, I like this juxtaposition between collage and sculpture. Something flat to something which releases itself.
  • Connections with – layering – undisguised forms – natural representations – form – constructing and deconstructing.


Week 7 on MFA

Mon 24th Oct –  Fri 28th Oct



  • Tues  –  ( Plaster Workshop induction)

– Brilliant can’t wait to get inducted in all workshops – Crucial for me as it opens up more opportunities –  enabling new methods and materials to work with.

– Great material company to use to buy materials – ( Alec Tiranti ltd )

–  Really great to understand and get taught the process of constructing plaster molds.

– To gain more properties and functions with all materials.

– Mold making enables me to churn out this mass production of form – how each stage shows relation to the previous.

– I want my work to have its own individuality – its own being and character – although it might be produced the same way I want its form to represent something new each time.

– Never to be a direct copy –  a new existence – Only carrying a trace from the previous.

( Algenite Mold) (Plaster Mold)

(Acrylic paint)

(Another process material ?)

  • For me it is important to experiment! That is what my practice is! Telling a narrative through a journey of processed stages and this relationship between artist and material ( Themes of Chance, change and time contributed)


  • ( Crit with Louise )

– Very positive crit , great feedback  and a seen excitement within my practice.

– References seen in my work by Louise – Bodily parts – Organic elements – Activity within surface

– Positive sights towards how material is processed – This fluidity and almost fleshy appeal.

( Scale) – ( Get Larger)

– Work with many materials – gain a different creation within the work.

– Building and gardening on the side – Think about using these settings or particular materials

– Outside environment – building materials – sand – concrete – brick – tarpaulin – wood

– Something which looks mechanical, almost man made but with a real uncanny growth – something materializing through an active transformation but created through the unexpected.

  • Start processing further
  • Understand any relationship which may occur.
  • Don’t work in ordinary processes combine materials to show this operation of performance to new possibility.
  • ( Artist to look at – Kurt Schwitters – Merzbau)


  • Wed & Thurs

– Working all day on both days on works for abstract art show.

– Building a richer relationship with my work – becoming engrossed with material and form.

– Context behind the work is to convert – nothing into something? – Forming a character and a personality.

– Fabricating.

-Surface important – a real coming together through performance.

– To trace all actions and expressions made through manipulation.

Week 6 on MFA

Mon 17th Oct – Fri 21st Oct






  • Mon – Working on pieces which are to be included in the Abstract art show in London.


– To analyze best format and how to present. Want to create impact and an intriguing dominance on the viewer and the space where my work is to be presented.

  • Tues – British art show 8 
  • (John Hansard Gallery)

-Looking at different methods the represented artists have used. – How all artists have collaborated within one space.

  • Artists and artworks which really grabbed my attention
  • (Imogen Stidworthy  ( A crack in the light)

– Installation effect from all sides of the space.

-Interesting inclusion of sound, light and visual creates an unforeseen world.

-The space became different everywhere you looked, however the consistent voice over of sound made you aware of the space and what you were looking at.

-I was drawn to all of the above plus the atmospheric emotion the space captured you in.

  • (Southampton City art gallery) 
  • (Jessica Warboys (Sea Paintings)

– An artist who I have researched on and gained ideas from with the way she works with surface and the inclusion of other materials, most interestingly sources of a non traditional method.

-Scale and light gives another dimension to work. – Scale is something I want to work on eventually in my work. For me the larger the work the more impact, which also gains a stronger relationship with the viewer. The digestion of the work also becomes that much more effective, allowing you to scan all over the surface and read new messages and language with what has been created.

– Marks and texture highlights this journey and narrative –  How the work has been constructed.

– Use of colour pigment contrasts and brings context into the surface, allowing for an abstracted message to be submerged into the surface.

  • (Nicolas Deshayes)

– Transformation and manipulation of materials – This way of working is the nucleus of my work. So to see Deshayes work allows for inspiration and imaginative ideas to seep into my work.

-The work had real textural qualities which enabled the work to be seen as recognizable as an attachment of product, but due to manipulation the product became something else.

-Something which had attachments to toxic waste / contaminated elements

-Really liked this combination between covering and revealing. Made me scan the work, walk all around, bend my body to try and read what was not being said directly. What I got was a dirty side of the work – this made me want to dive deeper into the work and follow this trail of toxicity.

  • Wed
  • Today working more on my works for the Abstract show in London.- Canvas is bought – This is going to be the foundation material for this work.- To build a layering on top of the canvas ( This idea of covering what was before, removing, and then covering again) ( Allows for a different range of textures and marks to appear, disappear, and then reappear.)- Media to be included – ( Charcoal, Rubber, Oil pastel, Acrylic paint, fire.)

    – A continuous applied process of layering with media, but then this act of removing.

    – Wanting a reaction to the surface, distorting and modifying what was there before. At each stage something new happens to the work.

    – When working with some of the processes and the media used the work becomes more unpredictable. This causes excitement and a new equation in the make up of the work. Working in this way is very much a risk as all elements of media may not react with one another,  it is a system operated by chance.

    – I feel the work can only be read once it has had this these textures built into the surface. Before it is all about the handling of the material and the development at each stage. To me this equation is always unexpected, you can never predict the outcome.

    – Whilst working on this piece which maybe included in the show I had a few factors to think about.

    1. When do I think my work is complete?
    2.  What side of the canvas do I present?

1. I think my piece is going to be deemed finished once it has witnessed the last element in the process ( fire). The main purpose of this work is to see some kind of a reaction, allowing for a shift in the work. I am hoping that by the inclusion of fire it will serve a sense of physicality in the work and a notion towards a risk factor which may or may not of been set up. Fire to my also symbolizes destruction, burning away something to nothing. So I feel it is appropriate that this is the last stage of the work, it acts as a submission on the surface to give up.


2. When I was applying black acrylic to the canvas I was using water as a mixer and a roller as a tool for appliance. The main reason for using a roller was simple, i felt it would add to the canvas in much quicker time and be added more evenly.

Choosing a roller over a brush was a much better decision as it gave a mixed approach when it came to adding to surface. It gave a patchy effect which I liked, a factor which again came from a method of chance. It gave interesting marks and a textural quality which a brush would not have had, I also felt that I was in control abut out of control at the same time.

The main side of the canvas I was working on became damp due to the ratio of water I was adding to the paint.  At first I was worried and disappointed that I could see the paint submerging through to the other side, but once I looked and flipped the canvas over I could see these incredible marks.  A formation illustrated through the unexpected.

– A decision on what side I present will be made once it has come from the fire.

  • Gavin Turk Talk
  • A brilliant talk from Gavin Turk – A real joy to listen and take aspects of how art can be read and spoken. Below are a few points I took which interested me from the talk.

–  What is mine? – Comes into your practice.

– Art – A way of communication – A forward and backwards process. – What is the context and what is the journey about?

-Art – Artist and audience participation. – At some point the work could become someone else’s other than the artist.

– Is signing your work a distraction to the composition or not?

– Constructing work from yourself as the artist but including yourself in the work but not literally.

– What we look / Where we look / How we look?

-Viewers looking at the work could be the art. The performance of looking.

– Imagery / mark making / become a form of signature and symbolizing individuality.


Oil Trace - Centre front viewHousehold tracemicrocrystalline-canvas-traceparafin-canvas-trace

Oil Trace, Household Trace, Microcrystalline Trace, Canvas Trace (Works selected for Brick Lane Exhibition) 

  • Fri 

– A day focusing more on works for the abstract art show at Brick Lane. Thinking about the talk from Gavin Turk and how this could inspire and make my work of great importance.

  • ( Work 1) – Foundation material – Canvas – Surface materials – paraffin wax – acrylic paint
  • ( Work 2) – Foundation material – Household cloth – Surface materials – paraffin wax – acrylic paint
  • (  Work 3) – Foundation material – Canvas – Surface materials – paraffin wax – oil pastel – acrylic paint
  • Action sculptural paintings
  • Looking to impose force on foundation combination of artist and material
  • Wax sets allowing to set the physical action of manipulation to surface.  – Highlighting this re – creation of surface a transformation and an adventure to new possibilties.
  • Interested in materialization and the handling and shaping. – The effect of compressing materials together to form something new.
  • Making a narrative – I draw out this journey by mapping out all creases which have been enhanced in the surface. Another idea of this coming together tag team if you like between me and material.

Week 5 on MFA

Mon 10th Oct – Fri 14th Oct 2016

  • Mon  – Carrying on with rubbing away at charcoal and oil pastel layering on canvas.  – How far can I go on? Will I ever get it back to some kind of blank surface?

– Rubber is the erasure – The removing tool – To strip away at this layered skin on the canvas.

– A real test – I feel this is one of the achievements I am seeking. Can I withstand this ongoing activity?

-How will I know when the work is complete? Is it when I get the canvas back to a neutral being? Will it ever come back?

– Mentally draining  – No conscious improvement

– Physically draining – Pain in hands and arm.

Due to this ongoing rubbing away and a constant added pressure the canvas has started to rip in places. A wearing down on surface. Canvas becoming weak. Is this a good time to come to completion?

– Different range of rubbers used. – Colour rubbers – Leaves in prints on the surface ( Leaving its mark).

– The wearing away of the rubber signifies how something solid can become weak and unusable.  It becomes nothing just a mere remain of its once self.  Small bits of matter from a solid object.

– When the rubber shavings are added to the jar, it hides away the fact that these rubbers are broken down. They becoming uniformed and united together, building up in mass to something which looks solid again.

– How many rubbers are used? – Does the jar allow for this fact to come out?

– How long was this process? Does it really matter?

– What is the beginning point and what is the end point in this process?

  • Tues – Crit with Andrea Gregson and peers

Artists to Research

– Sam Taylor wood – Rotten fruit

– Roman Opatkol – Painted by numbers – life time work – shows a sense of dedication.

– Ritual way of working – burning pieces – Taking documentation of work at set times and keeping to the same setting.

– To think about working larger in scale  –  Go massive.

– Combine all actions used within the project  – layering –  rubbing away – burning but keeping all essences of surface and tools used in work.

– Possibly think about working in an installation format – Detailing all works and allowing for all works to show this forming together.

– Think about working larger on canvas with the same rubbing away technique. Get a larger jar for all shavings which have been produced.

  • Wed – Think about collage ( Something I have been experimenting in my practice for a long time) . Think more about my practice and move away from the nothing project. However take any positive outcomes which have come out from the project and integrate into practice.

– Construct collage works from photos of air dry clay forms. Working with list of set rules which helps me to construct and compose the collage.

– Think about collages evolving in size from A5 to A4 to A3 and then possibly larger still.

– Develop website and facebook art page.  Presenting ongoing works and indications as to where my project is going.

– Think about gathering materials to work with – Cloths – Bed sheets – plastics – tarpaulin.

( Collages constructed from air dry clay sculptures)

– Another method of material transformation.

– Taking a 3 Dimensional product and converting it into a 2 Dimensional product, but then re constructing it back into a layered structured form. It shows how line and shape can revert back to what was once before.

– Very much interested in building and layering but at the same time removing and re constructing.

– For me it is all to do with the action which is applied. Many processes used, not used and used again.  This is the substance of the work.

– Making something out of a material, changing it continuously, allowing the work to breath life and gain a character.

– Starting to emerge and appear something from beneath the surface. Something which is removed but is given the chance to come back to the surface. Something new can be seen at every stage of development.

  • Thurs 

– Research – Artists which influence methods and theories with practice at this stage now. ( Thinking about construction through process)

– Wed 19th Oct ( Gavin Turk talk) – Amazing can’t wait for this talk –  Researched into Turk’s work and most intrigued about giving something dead , shrivelled or unwanted this new life.

– Where do I see my practice moving? – Taking every day materials and giving them a new expression and character through methods and techniques of workings with materials, through on going processes.

– I suppose I am most wanting to give the foundation material a new property and application.  A property of appreciation as well.

This will be achieved by the combination of myself and other uses of materials. The existing changes the original every time, the perception of what is seen before becomes something very different.

– I want to make the viewer think and analyze. question the art? What is this before them?

  • Fri

– Very pleased and excited to have found out that work of mine has been accepted into a group abstract art show, Brick Lane, London.

– The PV is on Nov 23rd 2016  and the show is on for 2 weeks.

– 3m x 3m wall as my exhibiting space.

– Thinking about the inclusion of my microcrystalline wax piece – 6 x collages constructed from air dry clay sculptures – Large canvas work which is ongoing at the moment. Combining all processes learnt from progression from the nothing project.

Week 4 on MFA

Mon 3rd Oct – Fri 7th Oct

  • Mon – Really going to test my endurance and what my body can with stand, as I aim to strip back as much of the charcoal and oil pastel layer.  – I know already that this piece is time consuming and will most likely take a number of days maybe even weeks.

– I am thinking of keeping the rubber shavings and placing them in a see through jar. This will not only document the cutting away at the rubber and how many rubbers I have had to go through, but it will also show the time I have spent on the work. How I have tried to revert back to this original. A new layer happening within the jar, as if the layer of the canvas is transferring to the jar. A very mechanical way of working .

  1. Artist seeks a brand new stretched canvas
  2. Artist applies layers of charcoal and oil pastel to blank surface.
  3. Artist then uses rubbers to rid of the previous layer applied. ( To convert back to what was before)
  4. Shavings of rubber are swept up and added to a clear jar ( Documenting this action, endurance, physicality, journey through time.)

– When working with the rubber there is often a very strong smell of burnt rubber. ( Immense friction achieved on the surface.)

– Weak hand and arm – motion of pressure – Constant movement.

– I did film a quick 30 seconds capture of the event. I had the camera close to the work on the table where I was working into the canvas. I was pleased with what was shot , the achievement for me was the shaking of the camera due to the action I was applying.The camera was getting the aftermath of pressure. Almost like a domino effect, one leading into the other.

  • Went to artist talk by Emma Critchley
  • Most interested by her combination of art and nature – especially in her most recent of works.  How she allows nature to take its cause and take over. Nature becomes the developer and re introduced into new possible artworks.
  • Tues – MA art visit to London
  • Newport Gallery ( Jeff Koons)

– Expressive works – Playful works – Contrasts between the absurd and the comic.

– Use of materials worked in a very profound way. Changing the essence of what you believe it to be to something very thought provoking.

  • Tate Modern 
  • ( Tate live active sculpture) ( Rasheed Araeen)

– Zero to infinity  – arrangement of form – poetic symmetry -parallel & cognitive relationship – systematic mathematical order.

(Julie Memretu)

– Reference towards architecture – Applications of layering to distort and change – The image becomes very chaotic. -Complicates the process changing overall composition.

(Richard Deacon) 

– Really like how he describes himself as a fabricator instead of a sculptor.

-Thought is that the word emphasizes the physical process of manipulating materials.

– What comes first though the material or the idea?

(Sheela Gowda)

– Use of materials understanding their limitations & potential.

– Do not out source the physical aspect of art making.



  • Blank canvas added to the outside

– Today is the day Tues 04th Oct 2016 – The finishing day for this piece. The journey has been completed because at 6 pm there was no photo taken. i was still in London visiting galleries.

– I was hoping to have the canvas on a more unexpected journey for longer. i was looking forward to seeing this documentation of surface change further and random marks produced through activity in nature.

– Specks of mud and misty markings congregated on the surface. No real depth of production can be seen. It still has this pure finish but with a connotation towards discarding of product. However symbolizing a beginning of conversion and transformation in product and practice.

  • Fri – (Freize art fair)

– Fantastic event – great inspiration – gives new ideas towards use of materials and how art can be read.

-Scale is something I want to take into my own practice, so having lots of large scale works at the fair was important. – These works allowed for the depth in their appearance to explode and come to life. Really magical to view.

So pleased to see work in the flesh by two sculptors Ken Price and Lynda Benglis. Both artists who I admire and am very much influenced by.

– Price applies the paint to the surface with such incredible detail. The matt finish he gives his sculptures is amazing and gives each form a real beauty.

– Benglis uses a deep range of materials, change the property and identity and to transform and convert through applications of artist working with materials. Working in this way gives the work life and a real heartbeat.

Week 3 on MFA

Mon 26th – Fri 30th Sep

Canvas set to fire  – Hung work in studio – looks OK – not yet completely sure if it is in correct position? Just wanted to see what it looked like on the wall. I do like the natural clean white colour from the background wall merging through the burnt area on the canvas and becoming part of the composition. It sets a tone almost re enacting the original, the primed canvas. The action from the fire is evident, this destruction to surface, but leaving something quite wonderful, the shape and form produced has come from a very destructive way of working, but the different range of colours, tones, surface patterns and shapes creates a new entity.

– A work which looks planned and thought out but completely done through chance,  just throwing the canvas into the fire allowing for it to take its cause.

Blank canvas added to the outside ( Reflection on day 5)

– Is the canvas the vocal part of the work? Is the foreground and the background just as important? Why not all 3? Can all 3 be included in the work?

– Very subtle changes – maybe just the inclusion of a leaf or a strand of glass flattened. * Each photo represents a whole new work each time.

– Is anything really happening in the work ? Does it show a context towards art or nothing going on?

– Environment and space

-Negative space which can actually become an artists tool.

– Art or paintings are compositions made from a build up of marks, tones, shapes and colours.  Can this only just be an impression?

Traditional art supplies used  – charcoal, paint, oil pastels – why not look more at marks included from mud, rain, leaves, wildlife? An inclusion become the invent for the work.  – This then leads on to the idea of an equal industrial ( myself) and organic ( nature) process.

Research on

– Thomas De Quincey – ( There is no such thing as forgetting possible to the mind)

– Photography by Idris Khan – Overlaid images

– Honore De Balzac ( story) – ( ‘ The unknown masterpiece’ )

-Essay writing ( ‘A note upon the mystic writing pad’) By Sigmund Freud

– Meyer Schapiro ‘Style’ Anthropology Today (Chicago, 1953) p 287 – 312

Sketchbook drawings

– Context of drawing perceived in a different way – Instead of approaching drawing with traditional methods, I make up my drawings through set rules, in the hope of producing ambiguous finishes towards abstraction.

  • Rules
  • – Drawing from constructed (wax) sculptures. Using a HB pencil I draw from the image, difference is I can not take my pencil off the page. If I want t o draw another section I have to guide the pencil across.
  • – When I feel the drawing is complete I use a B pencil, No pencil, 4B pencil & 5B pencil all in turn to build colour and tone into the outlined form. Working section by section. Pencil grades can override each other, but it is up to me as the artist to try and remember where a blank space has been given.

– Why drawing like this?

– Connotations towards order and chaos

– New technique adventure towards drawing allowing no boundaries a more freer expression to occur.

– Testing the mind of the artist, having to remember the rules.

– A more abstracted finish. – elements of chance in the drawing – showing a passage through time – Construction of drawing  – Order of pencil grades – Appearance of form.

– A change from the original  – Although working from an image I am changing and modifying the original foundation. Becomes a new existence the previous has become altered.  I find working in this way a relief – Rules allow for me to follow but then through progression work evolves. Once practice takes shape rules become less strict and instead more of a guidance towards transformation.

  • Tues –  Crit with Amanda Couch 
  • Artists too look at – Georgez Perez – Interesting scripts to look at regarding notions towards nothing.

– Jessica Warboys – Surface taken out into nature ( Performative)

– Gustaz Metzger

– Looked at each peers studio at development in practice thus far. Good feedback and interesting ideas to push forward with.

-( The haptic) – Reflection towards film & visual art in relation to touch

– Decay – Still life – 15th century painting – Time – Commitment

– What is it about 6pm?

– David Attenbourgh – Video work – Adam and Eve ( Evolution & Apple being apart of my work?)

– Keep going with timed based piece ignore time limit, just included time .  Keep bits of rubber, to show this performance, the tool I have used and how this tool for all its worth has become nothing.

canvas covered with layer of charcoal & Oil pastel rubbed out

– Thinking about carrying on with this process. Not working with a set time limit but instead just allowing time to be seen as part of the work.  – Endurance test ( On the body and on the surface).  – A physical and emotive matter being transferred to the surface.

– Thinking about creating a short video caption of me rubbing away at the surface.

Blank canvas added to the outside

– Still recording development through photography. Creating an ordered journey of discovery not just about what is happening to the canvas but also changes to the foreground and background.  – Reminiscent  towards Still life!

– Work has been dictated around the time 6pm, just because this was the time I took the first photo at.  Process all at random. I can only think at this stage that a good finishing point for this work is when for what ever reason I can not document the canvas at 6pm. The process has failed.

– New working ideas – Possibly new surfaces – Setting – time

Canvas set to fire 

– To think about working larger in scale. – Large lose bits of canvas and cloth not to be stretched or attached.  Most interested in the after effects of the transformed surface. Don’t want reminders towards a canvas in relation to painting.

  • Thurs

– Researched into interesting theories by Thomas de Quincey regarding possibilities of the mind.  How the mind works when it comes to forgetting.

– Gave me a different insight into how it may or may not work. The overall thought was that the term forgetting can never be proved. The only aspect which can be thought of as proven is if there is something which we do not want to remember we have the ability to push this to the back of our minds allowing us to forget.

– I still believe that if there is something  we really do not want to forget we can prevent this at all costs. An imbalance in the brain I believe is a major factor towards regular forgetfulness.

– I found reading and researching into this engaging and certainly made me think and question my own interactions with forgetting.  I believe it is something which is never thought about but when the question is raised, it takes you into all new possibilities of the mind.


– Approaching drawing with expression and no boundaries. – Working from an original but changing it further to allow for a more abstract element and a character to grow within the surface. A surreal connotation attachment linked as well.

– Made up through rules but also given a sense of freedom –  This allows for an opportunity of systems to become broken and all networks to become chaotic.

– Traces are only left from the make up of the original – But the essence has been banished – allowing for a new reign of existence.

Week 1 on MFA

15 September 2016

Working in studio – Making space my own – Correct working environment.

  • Sanding down walls – Coating with white paint.
  • Want to give my space a neutral feeling – I want my work to make the expression.
  • Start to progress with practical and theoretical ideas.
  • Continuing with practice – Looking at theoretical issues in material ( Material transformations, conversions). Manipulation and forming a new being changing the original into a new existence, through a combining actionism between both artist and material.