Week 14 on MFA

Mon 12th Dec – Fri 16th Dec

  • Mon – (To strip down blog)
  • Working on Liner form – capturing the processed journey – understanding that this form has a more intricate and advanced surface, in the way of the action marks which have been produced.

-With this form I have to examine in more detail – The difference between the textural quality of the liner in it’s original state, and the new existence of  its sculptural quality – The collaborative elements of wax on surface.

  • (Identifying two surface qualities of Liner form)   
  • 1st (The Solid) – Where the wax has embedded itself onto the liner – hardening and sculpting new positions, and changing the character of the liner.
  • 2nd (The Soft) – Where the wax may not of interacted with areas of the liner – leaving its original natural look.
  • The form carries a history, a beginning to end journey through the event of a process. It demonstrates in the work its originality and its new existence at the same time.
  • This can only be understood through handling the form. – As visually the form looks completely solid and set. – You would not expect there to be soft areas. (This form  works with an illusion to the eye of the viewer.)
  • Tues
  •  ( Writing art)
  • Aspects to consider – Themes – ideas – the work – different materials and techniques used – methods and process and context.
  • Use other artists as a source – Gaining an influence but constantly asking the question why?
  • (Constantly question what is going on) – My practice is one big question – because I am in and out of the process, my work and ideas are achieved through a happening occurred by elements of chance. – I then have to evaluate the work  and try and build some understanding.
  • (Words which I associate with my practice)
  • Materiality
  • Journey through process
  • Surface transformation
  • Chance
  • Unknown working process
  • Collaborating with materials
  • Combination of painting and sculpture
    • Thurs
    • Fantastic passage from the book (Materiality ,Edited by Petra Lange-Berndt, Documents of Contemporary Art, Whitechapel Gallery) 
    • ‘Wax is not one wax alone, for there are so many waxes!…There are hundreds of waxes, and they all merge into one another…..What makes the difference between them? The way one mixes them, the way one works with the various types of wax, and the compositions one makes of them’.(Lange-Berndt 2015 p44, Materiality //Documents of Contemporary Art, Whitechapel Gallery)
    • The passage above is crucial, I was massively drawn to the text as I found it so relevant to my own way of working and how I see wax as a material.
    • How I build a relationship with materials and the process.
    • How I work with wax and what it means to me. – How I sculpt and build onto the surface.

What I do! – How I work! 

(Tutorial with Andrea Gregson)

    • – Artists to look at –

Alexis Harding – Frank Stella

    • – Books and context to look at –

Book – (On Garbage) – Contexts ( Repetition and difference) (The fold) 


Week 13 on MFA

Mon 5th Dec – Fri 9th Dec

  •  Tues
  • ( Printmaking Workshop) – Great techniques and processes which can be included in the making.
  • Image layering – color layering with range of acrylic inks. – An experimentation work of art. –  Many opportunities can be withdrawn from the process.

– Different surfaces can be used , which for me would be a n important factor if I was to use this way of working. Possible surfaces to include ( Cardboard) (Bubble Wrap) – I would try and source as many textural surfaces as possible – Elements of chance and new happenings would hopefully be achieved.

  • I would be most interested with an image which becomes less clear as an outcome. – Where the colour  tends to break the image up, becoming distorted.
  • Also the chance to layer image / inks over and over again. – I would like something new being brought to the composition. Almost a new image appearing at each stage.
  • (Aspects which could be drawn from process
  • (Colour tone)
  • Colour change)
  • Image to become sculptural on a flat surface)



  • ( Crit with Amanda Couch and P/T Peers)
  • A brilliant opportunity for me to show my work in a clear space. Like an exhibition format. I wanted Amanda as well as my peers to see my work, for it not to be hidden. I included (Sculptural surface works) – (Painterly Sculptural works) and (Collage works produced from sculptures).
  • (Themes connected to practice, contexts – What the work is about) 
  • Artist – ( Du Buffet Jan) – Sculptural works by drawing into the surface – reference towards both sculpture and painting at the same time.
  • Re – Surfacing – How space occurs within my sculptural forms – The make up of production in each form- The use of both sculptural and painting elements draws in spaces and new openings.
  • (Painted lines on forms) – Suggest map like trails – Almost like capturing a journey through the process. – How this surface originated to where it is now, holding a history  of making.
  • (The use of a plinth) – The forms become precious – An importance to the work. Having a status about them.
  • (The use of the floor space) – The forms are seen more like landscapes. Plant like features – This connotation towards organic natural decaying.
  • (Referenced the found and the made)
  • (A relation to the discourse of painting)
  • ( Drapery) – ( To research into this and how there is a connection in my practice)
  • Artist – (Alison Watts)
  • Change
  • (Karla Black) – Expanded paintings


  • Wed
  • Thinking about the crit yesterday and the feedback I received. – Making me think more about the make up of my work and if any of the feedback could be relevant in my practice?
  • Do I see my forms as sculptural paintings?
  • When hung on a wall there could be a similarity to painting. – Really my work is all about materiality, how materials converge together by processes and a combination between materials collaborating and a performative action of the artist. – A half input from the artist. – I call this (An automatic action) – where the artist is subconscious during the process. In and out during each stage being in control but then being out of control.
  • What excites me and why I continue with this way of working?
  • The ability to be involved with the materials even if it means not being fully in control. – To me this is what keeps me intrigued – Not knowing an outcome – Building a new relationship with each material and form finding out what it is and trying to say. – I enjoy the tactile and tangible approach. – The constant change and transformation and the element of chance at every stage of process. – This unknown process which enables the work to be different. Each form is unique and new as every outcome is never the same. (For me the work is always fresh and allows me to question every time. a new relationship materializes every time.)
  • (Question) – A question I ask myself is my work about transforming materials or is it about transforming objects with materials to become something else?
  • The book I am reading (Materiality) will help me answer and understand further if this could be a question which I can answer.

-This morning I am working with new surfaces (Bin Liner) and (Blue Towel) – Are these objects or can they be seen as surface materials? When cut up or torn is it still a (Bin Liner) and (Blue Towel) or does it become something else, as it can no longer operate to its full potential and is stripped down.

  • (Trying a new approach to painting action marks to surface)
  • Mixing acrylic paint with water – water it down to a liquid but still with a dense amount of paint. – Pour over sculptural surface form – (Automatic action and the stronger possibility of chance – how will the paint cover the surface? How will it cover the surface?
  • (Bin Liner added to Paraffin wax)
  • Bin Liner started to melt when added to the wax – This could be seen as a problem but instead brought a new textural quality to the work. (The Bin liner to me is now no more, instead it has an earth like appearance.) – Something originally made in mass production and is a productive household tool is now broken down and has lost all its property.
  • (Blue Towel added to Paraffin wax) 
  • Towel is very tactile and tangible during process when added to wax. Responding well to the event without any possible complications. The Towel is now sculptural – From once being a flat surface is now 3 dimensional. It has a life like appearance referencing the body. – Interesting as a product this towel is used for the hands to dry. – Artists hands are used but not for drying instead bringing life to the towel and changing its original mundane character.


  • (Artist talk – Danny Rolfe)
  • Key points I picked out from the talk
  • Artists are all in conversation. There is not something which makes an artist more knowledgeable.
  • Connection with art through an energy. An understanding through shapes and colour.
  • Magic within art – Something happening on the surface and within the surface.
  • To fail is to fail better. – This constitutes more of an opportunity to achiving new possibilities.
  • Combination of all aspects (Sculpture/painting, video, photo, music, light – All contributes to a stronger method of working and shaping ideas.)
  • Art which you don’t quite get becomes interesting and fascinating as it is something which you don’t know.
  • Space can allow you to see something new in your work. It opens it up and drwas new questions to what the work is.
  • (Abstraction) Like looking in a mirror but not seeing yourself in the reflection. Instead a new world created within yourself.


  • Thurs
  • Reading the book  (Materiality) – To help build more context and knowledge.
  • To understand what materials are, and how they change and can be read as art.
  • Chapters which catch my eye are (Follow the materials) and (Formless blobs and trash flows).
  • (Follow the materials) – Thinking this could help me enhance a relationship with the materials I use, and gaining a richer method when materializing.
  • (Formless Blobs and trash flows) – To question what has been created? What does the work mean? How could the viewer see the works as art? Formless blobs – Is this what my work is? Or is there more of an articulate language connected to the work.

Week 12 on MFA

Mon 28th Nov – Fri 2nd Dec

  • Mon
  • Attended the bronze burn out process – And what a process it is! Intricate stages needed to be consumed. I was fascinated by what was going on before me.
  • (Thinking about the open studio exhibition which takes place next Tuesday  6th Dec)

– Thinking about my space and how best to correspond my work. – So far I am thinking about composing both my painterly sculptural forms, alongside my more intricate (nurtured) sculptural forms.

  • (Painterly sculptural surface forms) – As wall pieces representing the method of painting but seen in a 3 dimensional format – Looking at what the surface is but what the surface is now after being processed. To me technically they are still paintings, but not in the most traditional states. This sculptural element needs to be portrayed so these works as wall pieces for me would work best.
  • (Intricate nurtured sculptural forms) – As floor pieces – representing sculpture in its richest of forms.
  • I want to combine both series as components which have a parallel but a  slight detachment, which can be seen with how the works are to be presented.
  • (Collage works produced from sculptures on show) – I want to show the process being feed across the space. (Surface becomes sculptural) – (Surface is still sculptural but becomes nurtured and treated) – (Sculpture becomes processed through a new technique, condensing down to a 2 dimensional format, which is again slowly being built back to a 3 dimensional format) 


  • Tues
  • (Workshop induction) – Another new technique learnt and something to incorporate my method with.
  • (Great if I ever do contemplate moving back into painting on canvas.
  • Machinery very impressive (Jigsaw) – To carve out  ( Sander) – To refine and establish a form from the process before.
  • More new possibilities to try out!


  • ( Proposal crit with Srin Surti )
  • A great opportunity to discuss my practice and methods of working, but most importantly how to build relevant contexts with what my work is and what it is about.
  • (Research) – A key component as it helps shape your theory and working ideas. – For me at this stage I spoke about researching into texts which I identify with how I work with materials ( Automatism) and (Actionism). Also (Materiality) and (The history of making objects).
  • I was suggested by Srin not to overwhelm myself with to much context. Only to focus on two or three real relevant contexts, and from this build depth and understand how this is relevant to my practice.
  • (Relevant artists and texts to look at)
  • ( On the value of not knowing? – by Rebecca Fortnum)
  • Material intelligence – What this may mean?
  • ( Angela dela cruz)
  • (Katharina Grosse)
  • (Idea of painting as an expanded sense)
  • Frank Stella – Painting to architecture
  • Objects with life? – How forces shape things? – Nurturing what does this mean?
  • Unexpected processes – which leads to a strange happening.


Casting Trace, 2016, Canvas, Bronze casting wax, Acrylic paint

  • Thurs
  • ( Working in studio getting it ready for exhibition review on Tues 6th Dec)
  • How am I going to construct within my space?
  • Working with two proposed ideas.
  • Work has occurred through an unexpected process by materials collaborating alongside the automatic actions of the artist.
  •  Left hand wall for my (Surface sculptural forms) – In a parallel uniformed format
  • Middle of the studio ( Intricate nurtured sculptural forms) – With (Paraffin casting trace) – in the center of the floor on a plinth. The other works to be positioned around.
  • Right hand wall ( Collages) – Left being the 1st collage created down to the far right being the fourth collage created.


  • When taking a step back I am very happy with the set up. I think all works help represent each other, and help create a creative buzz. At this stage the buzz is only very slight but there is potential there. I am very happy with the surface sculptural forms on the wall, they could be seen as paintings from a distance, but the closer you get to them they start to transform sculptural and become alive. The works on the floor almost give of this organic feel, like these forms have just arrived from the environment outside. If there were to be more forms on the floor there would be much more presence and more of an understanding of what I can see at this stage. The collages for me become more mysterious than what they already do. What actually is the image?  There are certain aspects which could be picked up from the textural qualities of the sculptural forms, but each composition could be seen as becoming a whole new image.