Constellation: Dissertation

I was extremely hesitant and doubtful of my writing capabilities at the start of this module. I’m aware that academic writing is something i have always struggled with ever since i can remember. I decided to review my writing from previous years, and discovered that my strongest work seemed to be when i was discussing topics surrounding film, and that my fond interest in this subject heightened my ability to write comprehensively about it. It seemed like it would be beneficial for me to continue in this manor and base my dissertation on an area within film that i was particularly interested in.

In my practical work for this year, i have been focussing on the concept of death and it’s role within a modern western culture. Similarly, i based my written work on the subject of horror in early cinema, and as my research of this topic progressed, i found that it had links to my practical work, in terms of media portrayals and perceptions of death within an evolving society.  This proved to be helpful for me, so that as i built up my research on my dissertation question, i could transfer the discussions within my written work, into the practical work i was producing. I found that particular areas of research into fine artists that practiced under a similar theme, lead me to understand the strong link that film has to the world of fine art. Both are a predominantly visual experiences, yet they rely on a dedication of the senses, to enable an effective interpretation of the work.

I found that i really enjoyed working independently this year and being self directed really helped shift my drive to initiate independent advertisement of my work. I think it’s important to recognise in third year, that after university, we are very much left to our own devices, to organise and pursue our careers in our chosen fields. it’s easy to let this slip and form habits based on the academic environment one has adjusted to for the last 3 years. However, for me it has been an insinuative to branch out this year and really sell myself as an artist, in order to gain some business potential once i’ve graduated. I’ve had a couple of exhibitions in Brighton so far, and have managed to make a number of contacts which i can follow up on. As well as commissions, i feel that this year has been really successful for me, and has enabled me to challenge my strengths as an artist. With the benefit of constellation, it has helped me articulate myself better, and allowed me to learn appropriate and useful thinking strategies, when working through a particular problem.

I suppose i would say i’m most proud of my drive this year, more than a specific piece of work, i think my attitude towards my work is what i consider to be the most successful part of this year so far. However, the scale of my work has become greater, and i’ve learnt the importance of quality within everything i do. Working as a professional, one must behave as such. I’ve also found it extremely useful, talking to artists working outside of university. I tend to travel to Brighton a lot and have visited several shows up there, one of which was with the artist Marcus Coates, and i had the pleasure of meeting and talking with him. I find it really inspiring to do this as i feel i gain a huge insight into what it takes to pursue a career in art. It’s nice to know that it is possible to achieve these things, it’s just the technicalities behind how one achieves them seems to be the main issue.

However, throughout my year, i have encountered a series of issues with inspiration in my work. It seems to be a common occurrence, to find oneself lost and debating ones own skills and capabilities to successfully move forward. I’ve found talking to my tutor James Green very helpful at these times. We discuss the problem that i’m facing and then look at potential directions i could move on in. Although sometimes it is not this easy, and i’ve found the best thing to do, is to forgive myself for being human, to take a days break and go somewhere different. For me, a change of environment gives me a fresh mind, and a fresh pair of eyes. I find i’m always looking for ways to shift my perspective on a situation, and when i change my surroundings, i feel that this aides my need to alter my mentality and get me out of my artists block.

I’m really pleased with my work ethic for this year. But i will admit that i found the academic writing, really challenging. I do enjoy learning new things, and i like how most of what you learn, feeds into other areas of your practise. I think it’s more the scale on which i  was required to research and write, i was struggling with the level of expectation, and it put a lot of tension on my faith in my performance. But through determination and perseverance, i managed to pull through. I also think that talking to fellow students helped me when i was doubting myself. Within our discussions, we would be able to relate to each others struggles, and give suggestions on ideas and concepts for the potential direction of the writing.

Over all, i feel that throughout this year, my work has moulded and grown thanks to a much broader range of influences compared to other years. I think with growing awareness of what potential life holds after university, it was a challenge for me to persevere with my interests and really push myself through any set backs, in order to achieve and grow successfully as an artist. I wouldn’t have done it though, if it were not for the support of my tutors and friends. It’s good to recognise that it is not just your work anymore. Your work has become the work of others, and ultimately any work you produce will not stay with you. The nature of being an artist is that your work is ephemeral, and has a limited time in your life, before it is given to another. In this way, i realise now, that whatever i produce, i do not create in solitude. And for that i am grateful.


Constellation: PDP

While attending Clive Cazeaux’s constellation option on metaphysics of metaphor, I found several attitudes and discussions to be quite influential on my practice throughout this year. I have always had an active interest in philosophy, and art seems to go hand in hand, particularly within the realm of fine art. Majority of what was discussed in Cazeaux’s sessions, were transferable into my practice, and assisted in the continual development of my perception of fine art. For instance, the concept of an idea, and how that can be expanded and moulded, where one thing becomes something else. Art can act much like a metaphor itself and become more than just art. This leads to an artists ability to manipulate one’s work and test the limits of the perceptions of the viewers own reality. That by placing objects in a gallery indicates that these objects are pushing further beyond their material limits and they deserve a deeper meaning, just by being in existence.

I did however find it difficult to specify within the discussions, due to it being primarily a philosophical based class, any distinct concepts. While the majority of the course was designed to test and expand our realms of inquisition, and it did indeed feed into my practical work in terms of audience interaction and composition as well as approach skills used within a piece, I needed something more solid to draw my learning from that had a defined sense of place within art theory rather than concepts that would continually be tested and questioned. I decided to go outside of the constellation sessions, to instigate a broader spectrum on art theory and art history. David Hockney’s ‘Secret Knowledge’ series, in which Hockney delves into various theory practice’s that are all relative to the time that they were conceived, such as the invention of the camera obscurer and how it revolutionised life drawing, was perfect to reference throughout my practice. I found this programme most helpful as it allowed me to put theory into context, using his time line of progression throughout the history of art and indeed the world. it meant that I had a greater understanding of where within the world of art, my ideas and practice would lie.

On a more practical level, I was asked, during the easter break, by a children’s book writer ‘Colin Dennis’, to illustrate a book for him. This ongoing collaborative experience with him has proven to be an insight to working as a professional artist after university, and what it is to have to restrain any excessive and personal creative exuberance when dealing with clientele. The interaction with an outside perspective from your own practice is a vital skill to obtain, and now that I am headed into my third year, it’s more important than ever to think broadly in terms of concept and how your work will effect those viewing your work. This I feel is probably my greatest strength obtained from my year of constellation, and I think this is what ultimately lead me to the core of my dissertation subject. To better know my audience, the psychology behind fear will allow me to work accordingly, recognising techniques that ensure a successful reaction. weather that be fear, surprise, shock, disgust. The aim in my work for next year will be to test those limits in others, and allow them to question as I have done in my metaphysic’s sessions in constellation, their perception of my artwork. The beauty of this practice is that even after doing my research, any reaction given by an audience may defy all my tested knowledge of the provocation of fear. I think this will allow me to take a step outside of my own view of my practice, which is a particular weakness of mine, that I get too engrossed in my work that i often fail to recognise when my development become inappropriate for the aims set out in my brief. Focussing on the effect of my work on an audience, will enable me to home in on a successful eventuality with more insight and clarity.

I think where I am now as I continue with my degree, is a privileged position. I can test any theories i have learnt in a creative environment, among other artists that can give input and constructive criticism. After university I can see myself beginning to seek this type of environment out in such things as exhibition spaces, work spaces and in collaborations with other artists or clients. This year has provided the perfect preparations for this transition from working in a considerably safe creative place, to a place within society that is open to harsh criticism and restrictions. I feel it’s important to become malleable to such occurrences now, and adjust to what will be expected outside of my position as a university student.