Studio 49 : My studio - I have discreet areas for different types of work : 1. Outside shot 2 . Open/covered area for me to do spray work and workshop space 3. Digital area with Mac and printer 4. Main oil painting area 5. Acrylic painting area 6 Painting storage area. I have modified this space, since moving to the house in 2013.
Podcasts, videos and galleries visited
The Poor image Hito Steyerl: (First para) The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution.
Research and experimentation: Ppt presentation on Janneke Wesseling - The Notion of experience
Wesseling see it again / say it again https://sabrinasoyer.files.wordpress.com/2016/05/janneke-wesseling-see-it-again-say-it-again-the-artist-as-researcher.pdf Dipping into the introduction written by Wesseling enabled me to decipher much of what she spoke about in the lecture article we were given to make the presentation.
Studio Culture : Open studio Week
Preparation: During the discourse sessions with AB, we have been given a broad course, which has required us to research and investigate the role of the studio, studio practitioners and different types of studio, including visits to Sheffield exemplars and individual presentation sessions about studio practice of our research.
Our open studio sessions began by determining the name of the studio. The name of "super Juicy" came forwards after an artist talk by Georgina Barney, coming from a critical around Emily's work. We all agreed it was a suitable name. The open studio is slightly different from open studios that I have done before, where I have usually been working in myself studio with all my finished work available. The MA Fine Art open studio is planned to take place Sat 10-3 and Mon 4-8pm and is in conjunction with studio practice, which is about showing your working or your development of your practice whilst being on the MA. I felt this quote from an article I picked up about from studio international, in the reply section - making art as a mystery seems to be a strong message here!! : https://archive.studiointernational.com/TheStudio/TS1893/june/Is-the-Camera-the-Friend-or-Foe-of-Art.html
It presents me with some dilemma as I have my studio at home and haven't really been working in the Super Juicy (SJ) studio, apart from the atelier weeks.
First step was assigning roles to artists in the studio, super juicy marketing was what I was assigned to. We began by writing the basic skeleton of the press release. This was then evolved by others in the team till it was ready.
Main roles were : Welcoming and entertainment (drinks and children's entertainment), Marketing across social media, posters, email contact and press release.
Reflecting on the way that I work in my studio, I wanted to then create a similar look and feel to the Uni studio. I tend to work with number of palletes on the go at once, on the floor, the easel and wall, with several paintings on the go at one time, with source images at hand for me to look at and reference to artists around the space. I set up the studio with 3 key painting projects. Cav, Peloton and Michaelgate, which are some of the subjects that I have been working on so far in this course. Oil paintings (which are wet) and "workings out" of ideas for the final paintings, which I have primed and are ready to start drawing out next week. My looking at artists such as Fiona Rae ( featured in my ppt presentation in discourse session) & Diana Shultz. Though I wasn't doing work I wanted to give the impression that I had just walked out - like Bacons famous studio which has been moved and rebuilt.
Saturday Open studio 10-3 pm
Arrived at 9ish, with Madara and Mel already sorting signage and bit and pieces. First visitors arriving soon after 10. The total visitor count would in the 30's but didn't notch them down. Many conversations had with different visitors but most notable questions were : Do you trace or draw from the source images? Have you thought about using tyre tread pattern as a layer element which led to ideas about more detailed reference to the jersey decal in the layered textile piece.
Developing discussions led to my explanation that I have been trying different ways in which to make the work from the video, projecting in some of the works and painting directly with the projected image, then turning off and working on - Using tracing paper and projection - freehand drawing ( much of the earlier work) and a mix of different approaches. We talked at length about which I preferred and came back to the excitement of the physical drawing process. Further to the visit feedback I targeted several people to give me some feedback from a short video and photos from the Open studio.
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