Jessica Voorsanger Tutorial

We began the tutorial by discussing a couple of recent pieces of work I had made, including the two exhibited at Beaconsfield. Questioning the specific choices of imagery, Jessica asked me how i select each image before printing them, whether or not they were random. I explained that I had moved away from using figurative images of my family in an attempt to de personalise the work, and instead select photographs I have taken from various places and locations, usually of objects which spark a memory or emotion i had felt in this space. However, communicating this effectively to my audience has proven to be difficult as the material itself carries its own identity. 

Jessica felt as though my images had a 'snapshot' aesthetic, and understood that I am trying to make a moment physical using the materials for their specific qualitites. 

Continuing with how the imagery is chosen; we discussed how much i want my viewer to know as well as see. Whether the work is fully accessible. 

We then went on to look at the piece of work I made for the Hannah Barry exhibition - the framed image of the chairs. Agreeing that the use of the frame clarified it as an 'art piece' as opposed to the unframed works which are recognised more so as objects on their own. Jessica felt the viewer would question these more so. 

J and I also reviewed the projection piece exhibited for the Beaconsfield project. This presented a few issues because it was the first time I had used an image which wasn't mine aswell as it being of a painting and not a photograph. Both, in effect, changing the context of the work entirely, which was something i didn't want to do. However, perhaps i found them so intriguing and felt the need to exhibit them because these found slides were not mine and therefore i had no personal attachment to them.

Lastly, I spoke about my idea to make objects purposefully designed to support the material & image. J said this is something i should definitely try out. 

Issues I will be thinking further on as a result of this conversation - 

• With regards to the presentational aspect for the show, I need to think about the amount of works shown as this crucially influences their importance. For an example, if i was to exhibit the two large sheets - because of both their scale and the fact there are only two, there would be a large focus on why these in particular. 
• The choice of imagery needs to be further defined. How personal I want my images to be which in affect, alters their accessibility to the viewer.
• When referencing specific objects within a photograph, remember that they already have their own identity. E.g. The ballon - celebration of an occasion
• Identify exactly what it is I am wanting my audience 'to get' out of the work at the degree show, and how the visuals translate when put together. 

Tutorial with Matt

Today, I had an extremely helpful tutorial with the head of BA Fine Art Sculpture. Before even explaining much about my work to Matt, it was interesting to see his initial response to the works I had laid around in my studio space. He felt as though they resembled stylish represenations on 'trash', intimate moments made public. I was intrigued by this reaction as this idea of the foam I use being seen predominantly as 'trash' hadnt actually come into my mind when making work. I had been using it merely as a vehicle for display and the qualities it gives once printed onto. However, these comments had made me think a lot more in depth about the material itself and what it was saying to the viewer.

I explained to Matt that I had been contemplating disguising the foam, taking away its 3 dimensional quality and just cutting a thin layer then mounting it onto the wall so that you would not be able to tell the medium and perhaps there would then be more of a central focus on the actual image rather than this distraction of the material. However, Matt recommended not to disguise it, as this he felt was very intriguing about the work. He discussed different ways of presenting the work such as stacking and then letting the audience physically engage and interact by moving them around to look at each image. This would then be sort of a degraded advertising of ordinary life. These 'moments' that we often forget about or disregard, presented on a conventionally disgarded material - foam is something we know is there, it is under chairs, beds, all different kinds of furniture; however, it is something that we dont really notice or care about, even though it has an important function. Which is where this relationship of the image and material could really be explored further.

During my talk with Matt, I came to the realisation that making these set ups using the material aswell as objects wasnt perhaps the right path to go down. I think it was much more of a 'comfort' thing, although I hate to admit it. Incorporating the objects to function as props were initially to attempt to draw out the physical properties of the image and act almost as a support for each installation, referencing the imagery literally. Matt said he felt as though they were just there, not really functioning or provoking much thought about the overall work. He also said that I didnt need to locate everything because this then adds to the element of ambiguity and questioning which I think he is very much spot on with.

After this very thought provoking discussion with Matt, I am going to begin using my space to put up work I have already made, as well as making new pieces. Focusing more so on the imagery and what happens when different visuals are put together. Concentrating heavily on this aspect of place, and personal moments. Mixing up the imagery so that there is not neccessarily an obvious narrative.

Rebecca Fortnum Tutorial

During my one on one with Jessica we briefly went over my project proposal feedback, clarifying certain points within the proposal and realising which parts could be expanded. Articulating the works subject matter more clearly. We then discussed the video piece which I put in the Gasworks exhibition – If I felt it worked/why? Reasons for specific choices such as the editing. Whether I will continue to use video within my work and how this could be done. The discussion then progressed to thoughts about my current work. How I could develop with regards to use of the same medium, however the possibility of incorporating objects – directly referencing the scenes within the imagery and being quite literal. We also talked about the imagery itself and what happens once it is printed – this idea of fictionalising the image. How do people know that this is real? Transferring it onto the foam almost acts as a ‘blurring’.

Further to this tutorial, I now intend to:

•  Further research artist Tacita Dean – her use of 35mm film. Looking at the ways in which she films people – day to day routine, the ordinary. With specific attention to the aspect of time within these pieces and then thinking about how I can perhaps adapt a similar approach to my own work. Contact Frith Street Gallery and see if they are able to supply any video footage or direct me to somewhere I can view this

• Experiment with video – attempting to capture a similar imagery to what is presented within my photographs. Expanding on this idea of place/event/situation. 

• I will also be looking further into the aspect of how my work is encountered. Not only its physicality but its truth - If we view a programme that is scripted our reaction and involvement will be completely different to something that we know is fact such as a documentary. How can I produce work which people will believe or even relate to as opposed to resembling something that is set up?

Jessica Voorsanger Tutorial

During my one on one with Jessica we discussed the installational piece which I’m currently putting together/experimenting with. I told Jessica about my plans to incorporate a single slide projection; the image itself being the same as the one I have already printed onto the foam structure. Then referencing the ‘breakfast scene’ quite literally by sitting the foam piece onto a table, set up with objects/props such as cups, cutlery etc – allowing the projected image to overlap onto both foam and table – could be an interesting set up? However talking about the work made me question whether this use of mixed media is necessary for what I am trying to convey within the work, does it need to either be stripped down slightly and just focused on the visual or the medium itself? Or could it be taken further and the theatrical aspect pushed?

Jessica pointed out that this installation could almost resemble a 3 dimensional storyboard. Exploring the physical space.We also discussed the content of the imagery – looking further into this idea of the functional/dysfunctional family. Questioning why it is I am wanting to show images of my family in particular.

Further to this tutorial, I now intend to:

• Explore film further, as the cinematic quality of imagery quite obviously references this.
• Perhaps experiment with moving stills to create more of a narrative? Evoking a sense of nostalgia.
• Looking at ways of converting a physical space into more of a personal space which people can then interact with physically.

Tutorial with Donal Maloney

During the one on one Donal and I discussed how to expand and clarify certain sentences within my project proposal in order to make clearer my exact intentions for the work. Refining the rhetorical questions within the proposal and making more specific.

How to begin research into historical context – choose 5 things the work ‘could’ relate to and 5 things the work directly relates to.

With regards to my referencing of particular artists, I need to explain how they use both material and imagery to construct situations and interventions.

To look more specifically at both image and material within my practice – who has used similar imagery/techniques? The dialectic links. Establish whether my approach will be inductive or deductive. 

The issues I will be thinking further on as a result of this conversation:

• Begin a work plan chart to show aims/goals and development of work in order to achieve a stricter working style.

•  I will look at critics of photography – how much photography is dematerialised. Researching journals online and also research into the history of printing techniques.

•  More in depth research on artist Phyllida Barlow – her article for the Tate on sculptor Eduardo Chillida and also Tate videos “Abstraction & Interpretation” and “Encountering Eva Hesse” – in order to get an idea of Barlow’s views and also her way of working.