Part 2



Today we were introduced to the sculptural performance project. Before that we had gone around and introduced ourselves, explain why we chose sculpture and described a piece of work we had made that we liked.  I found it hard to describe a work I liked, and feel I am bad at verbally explaining my pieces and process because often I don't know why I have done something myself. I hope for the end of this project to become more informed by artist research and to have experimented with more materials. I was amazed at the similarities I could draw between how I and other people worked; often preferring the process to the final outcome. I am excited to learn more about what constitutes as sculpture. 

Today I have thought about movement and how humans interact with an object because of conditioning. This originally came from smashing a chocolate orange, which made me think of the idea of recreating this on a large scale out of plaster. I decided not to continue with this because I thought it would only last temporarily, and I had no way of recording the experience successfully for my portfolio as I only have my iPhone. To overcome this problem in the future I am saving for a DSLR. Although I liked the idea of smashing a big plaster chocolate orange I am unsure it would be able to smash in the same way because of the weight of the material - and the difference to the chocolate small scale is too large to risk wasting such large amounts of plaster. 

I decided to instruct the people around me to put pieces of pink paper in their mouth, just to see if they'd do it (borderline taking the piss), and as I expected they did. This made me laugh because it interested me how little people will question something they do if you say "it's for my art". I am beginning to think about how you can force or manipulate someone to do something.

After doing this experiment, I was left with lots of saliva covered paper which I didn't really want to touch (because it was soggy and gross). I therefore chose to carry them into the bin using my feet. I then thought I could explore manipulating how people walk, so got Daisy to perform a variety of types of walking where use of the arms is forbidden. I found this successful because it was interesting to see the different ways of movement she was forced to do following instruction. What made this so successful was the movement of the performer, rather than the instructions themselves, so I began to think about different ways of providing this instruction instead of verbally. This inspired my idea to create something that fills the back of the knee so the leg is forced into a bent position, instead of verbal instruction the objects shape would give instructions to the wearer. Paper was too filmy to force the body into that shape and was also easy to ignore, so I started to think about materials I could use. After seeing Franz West's work in the lecture I wanted the shape that fills the back of the leg to create something that is itself an interesting object.


Questions to ask myself

- What materials can I use to make a wedge?

- How can I ensure this is cost effective?



 I started researching Lynda Benglis today and have decided to use rigit foam. During class time I went to Tiranti's and learnt about hard vs soft. The soft type of the foam comes in larger quantities but does not grow as large. I decided to buy the rigid one because I thought it would be stronger and didn't want the shape to change when placed on different people's legs. It also worked out cheaper.

After uni I went to see the Animality exhibition which I found engaging. I think this was because it was a combination of artists so pieces had a large variety of styles and each one conveyed different understandings and perceptions of animals. I enjoyed the constant contrast between the pieces and how things which were so different were placed together. It meant the exhibition kept my attention and sometimes the contrast would be highly humorous, such as large hanging mouse toys and realistic wax bones which read like caucuses.


Questions to ask myself

-How can I ensure I make the most of class time?

-What type of technical support will I need to use the foam?

-Where shall I use the foam?

-How can I create something which uses the idea of combining two dissimilar things to create something funny?



Karen suggested I should get technician help when using the foam so I went to the casting workshop. Cat had never used the material before so she got the material data sheet to see what we could do to prevent risks. We assessed the ventilation of the workshop and decided to keep the door open when we mixed a small amount. When we first mixed the foam we wore masks to prevent any harmful fumes being inhaled, yet found it wasn't particularly toxic smelling and when we didn't wear them we didn't feel nauseous so decided it wasn't necessary.

My plan for the week is to try to learn about the material as much as possible and have at least 4 material experiments.

I bought building expanding foam to try a cheaper alternative to using polyurethane. casting this over plaster, silicone, Lino and vacuum moulded plastic. I found the shape to be less controlled than when I had made a barrier for the polythurane. it had larger air holes and in some ways was more playful looking than the polyurethane foam. This seemed to be because of the light green Areo chocolate colour. This foam was significantly more consistent with how it behaved compared to the other material, which doesn't surprise me because it isn't open to as many variables as the polyurethane foam (e.g. How mixed, balance of 2 parts, what material it's put onto), but I was less excited by it because of this. Although it is cheaper I have decided I prefer working with the polythurnae foam because it is easier to control and more exciting in the different ways it reacts.

Questions to ask myself

-How can I ensure I am safe using the material?

-How can I ensure I meet my target of at least 4 material experiments by the end of the project?


Technical note descriptions

My first attempt didn't work because we mixed the material too much, meaning it got set inside mixing bowl. I did however learn the results of the over mixing made a very light (in colour and in weight) object. I tried to mix the material less the second time however I under mixed it meaning it was very liquid like. We poured the liquid over my clingfilm covered legs however I discovered it got very hot when going off and I burned the back of my leg. The technique was unsuccessful because it was impossible to control the shape and although I liked the unpredictable nature of the material I was not making the shape I intended. For my third attempt, to prevent further burning and to have more control of the shape, I made a mouldrock cast of back of leg and a barrier out of plastic. I could not fully remove the cast but enjoy the traces left by the material, because it made the top of the foam look smoother.



As I was looking to ensure my work was cost effective, I tried the cheaper foam. Today I checked the results of my experiments of it drying on some different surfaces (lino, paper, rubber). I discovered the material wouldn’t come off lino or paper and when it came off the rubber it was dirty. Although this is a cheaper alternative, I have decided to continue with the polyurethane because it is easier to detach from moulds.

I went to Tirantis and purchased some materials to try interacting with the foam, as a way of meeting my target of at least 4 material experiments. I found the material did not drip off the black mesh I had purchased in a way I had predicted or wanted and was extremely difficult to spread evenly along. Within this mesh strip I took 3 different samples of the materials reaction. I used a release agent on some foam tubing to create a circular shape which I then used to cast the foam onto. This became quite 2D and more off a means of learning more about the material rather than a final piece. I discovered the materials heat when setting off had burnt the tubing which created an interesting gradient. Using these experiments I can see my final leg cast was done to a quality I am pleased with and I will present this for our mini crib on Thursday. I have used today to learn more potential for the material and now feel confident using it safely and have a greater awareness of its behaviour. I have also achieved my goal of having at least 4 material experiments. As I have now found my feet learning how to use the material, I feel this knowledge would be wasted if I did not continue creating final pieces having just grasped the material. I have been extremely excited by this project and feel I am well suited to the sculpture pathway and much prefer it to the diagnostic phase of the course. I have begun to doubt whether I should reapply to continue Fine Art at degree level.

Questions to ask myself

-How can I best present my piece on Thursday?

-What different suppliers of polyurethane are there?

-What is the best way to instruct the viewer to interact with my piece the way I intend?



Today we had a Photoshop workshop which I felt was extremely helpful however I am conscious I could do little today as I do not have high enough quality images to make digital pages for an e-portfolio. I feel extremely lucky to have access to such well qualified and friendly technician support and have noted the work hours and opening times for the computer room. As I do not have a laptop at home it is important I organise my time more in advance so that I can ensure I am able to access the software and support I may need. I will begin to look ahead at booking a laptop using the e-store.

I have begun brainstorming means of presenting the piece. Initially I thought about hanging the wedge, as I had seen in Franz West's Pusstucke. I decided not to do this because it would deduct from the viewers understanding of where the shape came from and does not fit with my conceptual starting point of manipulating movement. There is also a risk because the object is very hard and strong, which I tested by whacking it against my head, that it may cause injury if it fell. I also thought on a plinth the fun way the work developed would be removed as it would be over formalising something which was initially a bit of a laugh.

I was thinking of ways to further the idea of manipulating the body so decided to create another object. I thought about making a wedge for the arm or neck however did not feel this would add a greater significant restriction to the body more than a wedge alone does. I decided to look at the body as a whole and as I had been thinking about plinths made a piece where someone could balance, which wasn't too dangerous, so I was conscious of using an existing sturdy frame work for a shape. I tested the ability of the material to cope with the weight of a person by using one of my old experiments and found the material could cope well. I used mould rock to cast the shape of a bowl and filled it with polyurethane. Once it had dried I tried balancing and found it was strong and fit what I wanted to convey, for this reason I think the material choice for the piece has been successful. I had Nina try to balance on it and photographed her different placements and poses using the piece. I enjoyed seeing someone else use the piece and had a laugh photographing her as she tried not balancing and holding rather forced slightly ridiculous and weird poses. I am pleased with the final images because I feel they communicate this to. I feel selecting a series of her different poses and placing these images on the wall next to the piece will work as a way of instructing the viewer to interact with my piece.

I have used some remaining polyurethane to create a drip without a cast, which I was inspired to do after seeing Quartered Meteor by Benglis. I love the way the material looks wet even when its dry as it captures the gloopyness and weight of the blobs. They are in some ways hard to explain because they don't look like much but I can't help wanting to make a larger more ambitious piece using the foam, however it is expensive.

I have also found a supplier online for the foam which I intend to order by the 27th, however the delivery time may prohibit my making for a couple of days. I intend to use this time to research Benglis further and find some secondary sources reviewing her work.

Questions to ask myself

-How can I use the waiting time for my material to arrive effectively?

-Where in the room will be best to present my piece?





I decided on three images capturing Nina in three different poses using the objects in three different ways. For this reason I needed a place in the room with wall space and a clear floor. I considered putting paper beneath the sculpture however am pleased I didn't because the end result was more about the body shape; paper would have distracted from this and may cause the user to slip. 

I was extremely nervous to present because I have been less confident in being able to explain my decisions clearly to a group however I am hoping this is something I will be better at doing as I continue to learn over this course. I have already noticed I am being more informed by research than ever before and feel I have put in significantly more effort to gain a wider variety of source references to improve since my last assessment.

Geisou performed the piece for the group which I found extremely helpful as the images weren't necessarily big enough for everyone to see the piece clearly from a distance. I did find the piece became lost in the room, so perhaps for my next project I will aim to make something harder to ignore or consider how I can present the piece to do this. Her performance also made me think about parallels with traditional white marble portrait sculptures because of the humorous poses she was having to pull to interact with the piece. This reminded of of at the Leuve the massive room filled with different posing portrait sculptures and made me think about in some ways mocking that by filling a room with these wedges that force you into funny poses. I found presenting was not as overwhelming as I expected however was slightly disappointed by the lack of feedback I got but expect it was because people were shy. People also seemed to be interested in my experimentation and I spent most of the limited time we had explaining how the material reacts in different circumstances. My ability to explain these made me feel I have successfully achieved my aim to learn about the material.

In the crit two pieces I found particularly successful were the ash square and pyramid and the metal cage with nails and balloons inside. In some ways I see I have a taste, because there seems to be a theme between the two, but I'm not sure what that is yet. I think the way they both have a very strong presence to the person, like how dainty and delicate these fine pieces of ash become made me not want to breath and destroy them in some ways was something that I would like to use in my work. Trying to have physical reaction from the viewer is something I will aim to do in future projects.

Seeng all the different materials people were using made me excited to try and use them and today I have decided to apply for sculpture BA. Something which has prevailed in my mind making this decision was Karen saying to me on one hand you will be sitting at home writing and another hand you will be in the studio making. 

For next week I want to continue with my blob work and think about ways I could make larger pieces. Today I started working out how to construct a large self standing blob however am unsure what form it would take (I would have to create a wooden base of some sort and work upwards). I decided to save money I would cover my first failed attempt at casting my leg to work as a basis for some size, however I underestimated how large it was and only managed to cover parts. I am currently debating if it is necessary to make something as tall as intended by my initial sketch.

Questions to ask myself

-How can I make the viewer have a physical response in my future work?

-What alternative ways could I present my piece in future to make it more noticable?

-Is it necessary to create a larger polyurethane sculpture? What will I learn from doing so?

-How can I come up with ideas for making an abstract form?


Today I went to the Anselm Kiefer exhibition at the White Cube to generate some ideas for starting a more ambitious project. I really enjoyed the exhibition because of how the sculptures made me feel physically. This was especially present in the large spiral staircase piece, Wahalla (the hallway installation with lead beads) and an emersive small room filled to the brim with old objects, photographs and boxes which looked like they would fall any second. The staircase made me feel tiny as it was so tall and in a room with an extremely high ceiling, I was curious as to how the gallery had accomidated for the piece and managed to get it actually into the room so asked a staff member who said it came in sections. Wahalla made me feel like I was in a military bunker or abandoned hospital of some sort, the dim lighting and knowledge that lead is a harmful material when touched made me feel a little like I didn't want to breath fully. The emersive room made me feel anxious because the objects looked like they could fall any moment. These are all ways I could prevoke a feeling in my work, however although this has been helpful to learn I do not see myself as intending to create pieces that prevoke these particular emotions in the near future. Instead I enjoyed the humorous element of my last piece and feel this was successful.

One of the pieces, a large lead sheet pointing down almost dripping and eroding, made me think about extending my drip to being as long and tall as a waterfall. It also made me think it might be interesting to have a time based piece of some sort, perhaps where the sculpture is still drying and drips. Another thing the exhibition made me think about was the colours he used, they were very dark and cold. I started to think yellow is very light looking with associations of being a happy colour. I thought about spraying the foam with stone spray to create a fun confusion between when someone looks at the piece thinking it will be heavy and instead it being light, however I think keeping the materials colour worked well for the piece. This is because it made people surprised by its strength, in contrast if it looked more like stone people would expect it to be able to hold a persons weight, and as yellow is a light hearted happy colour this conceptually fits with the fun and playful element of the piece.

Questions to ask myself

-Is it possible to have the piece drying and changing in front of the viewers?

-How can I ensure the colours I use in my work are appropriate?


Doing the washing up made me come up with the idea of filling a tap with foam dripping out. I think this will be a fun juxtaposition and I could also make it look like I have pumped the foam through the plumbing of the building. I have also had the idea of filling a sink with foam. I have looked at the health and safety risks of having the piece drying around viewers and do not think it is appropriate or possible because of the fumes and heat given off when the material is setting. I have also started to look at the different colour associations and aim to document these in research before the next assessment however have not had time to do so yet.

I've also realised I talk about materials like they are people so could think about ways I can anthropomophise them for the viewers. I find the foam is extremely anthropomorphic as a material anyway because it has a life of its own and seems to capture growth within the end result. This theme doesn't seem to extend to my black mesh work.

Questions to ask myself

-Does it matter that my black mesh work seems quite different to my foam work?

-How and where can I get an affordable sink at short notice?


Today I created another drip however I didn't find this worked as successfully as my previous experiment. It may be better to work outside to give it more air so it becomes lighter like before, I could also do this by allowing it to set longer. I am however prohibited to make things at the moment because I am out of foam and waiting for a delivery. 

I had a tutorial with Karen whereby she assured me the foam and black mesh work were not inconsistent. I feel less worried about it being random because she said it didn't matter, but I am also curious as to finding out what this underlying common theme in my work is because there was no conscious link between the two other than I purchased the mesh to try out with the foam.

I tried to find a sink however, after an unsuccessful trip to the charity shop and casting workshop, at the end of the days still trying to find one. Instead I decided to focus on large dripping foam piece, logistically worked out going to cost me a lot.  To develop Decided composition ideas I drew some sketches based off my first drip experiment because I found it my most successful. I'm interested to see how it would work at a larger scale with more foam. I'm excited because I think it will have more presence in space. In contrast the material in my last work was a bit restrained, because it was cast in specific shapes, so for this I'm intending to just layer the foam on top of each other to see if it works.

Tomorrow my plan is to make a wooden frame for the composition I have sketched out, and focus on my portfolio and my research. I've decided this because Karen said my work is good and I will get a better grade if I try to improve my workflow. I will aim to create a wooden base in the morning then spend the rest of day photographing pieces and doing some research.

After college I attended a lecture about the parallels between British and American sculpture in the 1980s with Richard Deacon. I found it interesting and was impressed by the mens ability to recall dates of specific exhibitions, infact the amount of references they were making was overwhelming. I felt as though I had achieved something in some way when they made reference to Robert Morris' Bodymotionandthings because it is something I had learned this year. 

A part of the lecture that interested me most was when Richard Wentworth said he can often guess correctly an artists gender and where they are from in the world. Although the other students that I went with were slightly offended by this, as it seemed a little old fashioned, I was amazed in someway by this skill. It made me curious as to how much we are impacted by our surroundings. I was interested that I have mainly researched female artists, so expect I create 'female' work.

Questions to ask myself

-Is it important I stick exactly to the plan I have made tomorrow?

-Is the idea of feminine artwork offensive?

-How does research inform my work?


Today we had a lecture about Reduction of recognisable form. I became aware that this was something I was doing instinctively, and the work I had been researching by Benglis was already an example of this. Not only was this clear in my current project but through the work I have produced on the foundation I can see this consistently. In the collection of my chewing gum pieces when I mixed the gum with flour they became more elegant forms and harder to recognise as pieces of chewing gum, when I attempted to reproduce this at a larger scale it became nearly impossible to recognise the piece as enlarged chewing gum because the new material had changed the shape of the piece largely. Another way this can be seen is when the expanding foam grew out of the holes I poked to see if the inside was dry, but I enjoyed this sculpture more. In my performance piece the work I made also seemed to have this theme because the cast of the back of the leg is largely unrecognisable until performed. This is also due to the use of raw material, it is not attempting to look like anything else. 

I abandoned the plan I set for myself yesterday as I couldn't find a scrap wooden base, and I have decided to postpone this until Monday, to give myself more thinking time on what to do with the foam once it arrives. Instead, I continued making black mesh things and photographing them. I found the larger pieces more successful than the smaller because they had more movement and a certain speed about them. This seemed to fit well because they were quick to produce. I played around with arranging the black pegs that came with the mesh, arranging them using a system ( all must have the cork shaped thing perpendicular to the straight part of the curved end ), which was fun to make however I found the end result boring. I enjoyed a semi circle arrangement of them when I knocked it out of position by accident. The way they all lead to one point, like a dead end, made me think about Serra's maze so I started to imagine it as a large maze which lead to the same point.

I failed to meet my aim for today of having made a base for a larger sculpture however I do not feel this means I have had an unsuccessful day because I have learnt I need to be more considerate of the materials I will need to complete my plans. I have managed to get photographs of my mesh work and am extremely pleased with my new camera I have saved up for.


Today in the morning we had a student reps meeting. It is fun to be able to hear the experiences of people in other pathways and has made me appreciate the freedom and one on one time we can get with the tutors when we need. I raised the problem of a lack of storage space at Archway and that I think it only fair students who apply are more informed about the extent of writing/readying required in contrast to some other foundation courses, as this is something I have particularly struggled with and found challenging to organise myself. I was particularly shocked by the exceptionally high quote I was told that 63% of students have dyslexia in UAL. This made me think about whether I will come out dyslexic in my assessment tomorrow.

When I got back to Archway I had a tutorial with Karen who suggusted I try sweeping wet foam, after seeing that I had tried sweeping dry foam. I thought sounded really fun and am excited to see the results.

As I've been intending to create a large waterfall blob like sculpture I looked at images of the oozing extension in one of the texts from the bibliography. Researching oozing made me think I would not learn much more about the material from creating a massive piece and in some ways the result is more predictable than the idea of interacting the foam with brushes, based on the large similarities in existing work which explores Oozing like Benglis' work (see research). This is also a more affordable option which allows me to have greater scope with spare materials for experimentation.

Questions to ask myself

-How can I intergrate humour and the idea of sweeping wet foam?

-Where is the best place to work to do such a thing?

-What materials will I need?

-How can I use what I have learned from my previous experimentation to inform this?


I had a dyslexia assessment today and was diagnosed with dyslexia. This seems to explain a lot about why I struggle with organisation and am slow at reading/writing. I hope to get support from the university for this, I feel something that would be particularly helpful would be the extension of library loans.

In preparation for sweeping wet foam I have purchased some tarpool and found a mop. I have got an old mop dirty mop to try and make the contrast between the gross rustiness and fun yellow blobs funnier. I bought tarpool so that wherever I end up mixing the foam I will easily be able to remove it from the floor, as this is something I have learned from my previous experimentation with the material. I will ensure where I mix the foam is well ventilated, either by opening windows or working outside.


Questions to ask myself

-How can I present my final result the most successfully? 




As stated in (see research section) Anthea Hamilton's Volcano Table gave me the idea to try having blobs coming towards a viewer in an immersive environment. From her work I also learned the importance of associations with the readymade being used, and this is something I need to consider with my mop piece. I created the mop piece and am pleased with the result. I particularly liked the way the foam caused the string to grow outwards like a mushroom which I hadn't anticipated. I then went to purchase some individual mop heads.


Questions to ask myself

-What associations are there with mops?

-Does this fit with what I am trying to do?

-How can I create the feeling of creeping towards you?



Today I bought a tent in which I intended to cover with foam to make an enclosed environment however I quickly found

Made blobby sculpture. Hadn't considered how to transport over.




Pieces quite anthropomorphic, sense of growing towards you

Black pegs insect like. Key looks in the work surreal, blobby, growth. Theme anthropomorphism. Elements of work most successful is the anthropormphism and the material, people were particularly interested in.

Way to improve buy more of the individual elements e.g. Black pegs. Increasing the amount of things was something I had intended to do however had struggled to do because of the cost,

Spacing in room could be improved, suggested that I move things to be more central rather than being hidden in corners.

How has research informed my decision making? Benglis, MccGuire.

It was recommended I research Karla Black.



Questions to ask myself

How can I further the idea of anthropomorphism?


After the crit I have been thinking about ways to enhance the idea of personifying my sculptures and as I was result of researching Kate MccGuire, I have thought about her 'capturing a feeling' to name her sculptures. The idea of giving my sculpture a name seems the most appropriate because of the connotations of having a name - it becomes more emotional or personal.


I was excited for today to get some feedback on my Christmas work and show Karen I had taken my sculpture into the public realm and photographed it in different environments. When I arrived it turned out Karen won’t be in the next couple of weeks so I’m interested to see how different her and Ardian’s teaching styles and advice is. As usual the main feedback I got from the discussion of our Christmas work were questions about how I made things, which I find frustrating but makes me more excited to see how different this will be following a 3 week project. At the beginning of the day I was really looking forward to making one large ambitious final outcome as appose to my previous work from the sculptural condition which was made of many different elements. As the discussion developed I have become more focused and excited by trying to use conceptual starting points to develop ideas visually rather than focussing on material exploration. My goal for this project is to integrate my philosophical thinking and have a more conceptual driven project, become more self-directed in my learning and to have a greater understanding of how I work best. I am also interested to see how I can use the 'design' process as this is something I have not yet dealt with in my work. The theme of abstraction via reduction that I saw in my previous work is something I would like to develop in this project.

The first idea that popped into my head was the way that we use the room. The space is often contested over and in some ways cut up/separated.

Questions to ask myself?

-What different techniques can I use to help me 'design' my idea?

-How can I integrate my interest in philosophy?

-How can I visually communicate the idea of questioning what a room is?


Given date for Leeds interview, extremely early. Will need to prioritise getting a portfolio together. Furthered the idea of making a room without walls. The questions I am thinking about seems to integrate my interest in philosophy. I have become slightly overwhelmed with questions I am thinking about and am finding physically writing an easier way to communicate than 


Photographs from Birmingham. Feel satisfied with what have achieved however do not feel have any clear direction for Monday.

Different ways I could 'design'


Models, photographed. Decided not to do Jesus shares idea.






Kiefer exhibition roll over - clay slices.

Rachel Harrison idea for door knob on large plastic sheet

 Frame day

Traces of final in room used frame to give walls and make clearer. Ideal would prefer no frame and clearer space. much prefer with objects looking back at photo think frame unnecessary


Questions to ask myself





Workshop using ban saw, Finished covering fish. tried placing them undersheet doesn't work so well. tested different colours against background


Questions to ask myself





Today I had my Leeds interview which seemed to go well.

Questions to ask myself





Overall, I was not satisfied with my final result for this project, however feel I have successfully experimented with a range of media and gained a greater understanding of how I work.

The reason I think my final result was not successful is because I decided to present my piece as a sculpture made of an expanding foam wave curved sheet with a large plastic sheet hanging over it. This was made site specific as it was designed to be in the corner of the room where the windows made strong shadows in a parallel diagonal to the sheet late in the day, to contrast the no shadows made by the translucent material. I tried to explain the thoughts behind my piece. For the foam curve, this was the idea about the sea being a room and the argument that coral reefs create walls. The transparent sheet on the other hand was derived from me questioning it being possible to have a room with only a vague understanding of what a wall is. This could be experienced when inside, the sheet becomes extremely enclosing and feels relatively private although from the on viewer it is not so. The fundamental question behind this sheet being Is it possible to have a room with no walls? The idea of physically sensing a boundary - instead of it being completely visible - was something I found was not conveyed by my final result as I wrongly chose to have the autonomous sculptural object instead of performance.

In heinz sight I think I did this through fear of breaking my comfort zone, the idea of presenting a plastic sheet and asking people to go inside as the final outcome for a three week project seemed Instead As I was explaining this I began to realise For me the most successful element of the piece was the way the light interacts with the piece in the space, which I had seen at 9pm. This idea of light in the room was influenced by Christina Iglasias. Remains and trace of the room left by the shadows is something I have become particularly interested in and works within itself. Isolating the shadows and the lack of trace left by the sheet is something I believe I should do to extend this project to overcome the problem of cluttering and confusing my ideas. This could be best shown through an image. I look to continue to focus on is that remain element. I didn't feel that I needed the expanding foam sheet. In fact I see them now as two separate ideas. Obviously there is similarity between the two a they both stem from this question of what a room is, and they are both raw material - something my work generally tends towards - I combined them for visual purposes however, now I find the conceptual basis extremely cluttered and instead these both seem to be two separate pieces. When trying to explain the basis for each component I realised I had confused myself. This idea of yes a room can have transparent walls and no the sea is not a room for humans, was too much information for one piece of work. This work with the two components had moved away from this conceptual idea, which is fine, however I only realised this after the comments from my classmates.

How can I improve?

I think it would be useful now I have recognised the problem in my mixed ideas to create a final outcome related to the idea of the sea being a room for fish and separate that with

I feel I have met my aims of becoming more self-directed and aware of how I work best. I tend to work best in


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