Peer evaluation feedback

- Nice and outdoorsy - an ongoing theme, which is great, shows a real personal interest flowing through the work.

- Absolutely loved the full moon walk idea and how work has been inspired from this to create visual connections to a personal experience.

- Maybe could look at using film, create a visual for people so they can travel with you as you go on the walks.

- Good body of work. Good background knowledge of artists. Presentation a bit mucky on the wall.

- Idea of place is main theme, particularly significant and personal places.

- Extensive artist research and large backlog of work.

- Process of this project is essential and you can see the process of it very clearly.

- Organically formed narrative gone hand in hand with the process.

- Jess has an excellent full body of work that shows a clear and extensive process of ideas. Her work is very imaginative and the presentation of her work is to a very high standard.

- Jess seems to be very involved in her work that helps put across a personal theme and narrative for the viewers. Skills she has developed through self-directed study show the high level of competence and innnovation that I feel deserves a First Class.

- Extensive research and use of journal is obvious and I really enjoyed the layout of the work on the wall - The little shelf that had been put up and the two pieces of work in frames gave it something more, and again made it more personal and showed truly that you are comfortable and at home with the work. Inspiring stuff!

________________________________________________________________


Pleasantly surprised by the peer feedback, having been certain that my intentions with this project had been misunderstood. There are points here that I felt that although I had not mentioned in my peer evaluation, had been picked up on- particularly pleased with the statement about me feeling 'at home' with my work. I do, and I'm pleased that this comes across as it's a new and refreshing feeling for me.
I'm interested in the idea of working with film if I went on to explore this I would want to make something as intangible and misreadable as all of my other work, however. Create something abstract and drifty. This is definitely something that needs to be looked at.
It struck me how often the word 'process' was used in my feedback- the process is important! Edith pointed it out to me first, and now in this feedback it is repeated- I was the only one that couldn't see it!
Looking forward to working now for the Lift and continuing my practice with this feedback in mind.

Curating The Big Walk

The Big Walk – Lobby – Group show

Curating the Big Walk:

For The Big Walk show in the Lobby, the three of us brought together all of the material that we had either collected, or made from the experience of the Big Walk. We began curating this exhibition not knowing how much of this material we would display, or how it would interact with each other, having deliberately avoided discussing the technicalities of the show in the time leading up to the install.

We began by gathering all of the information together and ‘taking stock’ of all that we had, and considering a framework from which to work for the setting up of the show. The first curatorial issue was whether to cover up, or work around the previous Lobby show, Kensa’s ‘Horizon’, which we had intentionally left in the space as we felt it was appropriate, and responded well to The Big Walk. Together we made the decision not to cover it, as we felt that having this ‘constant’ horizon was so contextually apt to the content of the show, and it would also challenge us to ‘think outside the box’ in terms of the placement of all of the pieces, rather than falling into the trap of a ‘classical hang’ which would not be appropriate for The Big Walk. We also all agreed that the horizon line brought with it a sense of journey and movement.

The first piece to go up was Didge’s ‘Moon’ construction, which Didge felt needed to be high up- as is the moon- and look over the Lobby. This was the only piece, aside from the objects on the table, which we did not mount on a wall. Almost immediately we made the decision to suspend this from the ceiling, not only so that it could be high up, but so that it could be removed and replaced by Didge if necessary, and so that it would not simply be a static object. Hanging it like this also meant that it was angled slightly to the floor, picking up reflections of colour and movement, and so is in a constant state of flux.

From this starting point, we moved on to consider what other larger pieces were to be hung that would need a specific place. There seemed to be a clear divide in our material between the ‘art’, which needed to dominate its own space, and art objects and documentation which was more fluid and less bound to a conventional arrangement. When considering how best to place another of Didge’s pieces, Kensa realised that when placed over her Horizon, it fitted and continued that constant line. We proceeded with this as a theme for that wall, and arranged photographs containing horizons from our walk in the same way. We all felt that keeping the horizon was important, and that by working in this way we were not only preserving, but adding to Kensa’s Horizon, by applying our own memories and imagery to this piece.

For the collection of maps, sketchbooks, found objects etc. we acquired a low plinth for us as a table. The intention was to build a ‘social’ area where these objects could be explored and handled- inviting the viewer in to the more intimate, less prepared aspects of this journey. It seemed important to have this ‘friendly area’, as it prevented this show from becoming to clean, and too impersonal; this is a story that we wished to share, and tell as a group.

Above the seating area I created a montage of some of my smaller pieces, which formed a small, chaotic arrangement of drawings, printwork and other imagery. This is my usual method of working, and it seemed appropriate for the frame of mind that the walk was both undertaken in, and then reflected by. It is intentionally so close to the seating area, as it is a less formal arrangement than the other pieces, consisting of fragments and curios.

Much of the curatorial issues we encountered with setting up this show involved just working out arrangements that were aesthetically pleasing to us- not always definable, but based on ‘gut instincts’. We were also very concerned, as the artists, that our story was told correctly and was made somewhat accessible to the audience that we wanted to share this with. We worked this out by carefully considering the pieces that we chose to include; being selective and removing material that we felt to be non-essential considering the limited space that we had.

I believe that we have achieved what we desired with this show and I am proud of the result. I feel that The Big Walk show describes evocatively our walking adventure and I am satisfied that the last two months of reflecting and remembering has culminated in what I believe to be a very considered, mindful collection of work.

Amended Lift Gallery proposal

The Lift Gallery Proposal
Jess Young

“False idols: from Deity to concept: The notion of the polemic, an impassioned argument that suggests a discursive belief or the act of questioning.”

“So now I shall talk every night. To myself. To the moon. I shall walk, as I did tonight, jealous of my loneliness, in the blue-silver of the cold moon, shining brilliantly on the drifts of fresh-fallen snow, with the myriad sparkles. I talk to myself and look at the dark trees, blessedly neutral. So much easier than facing people, than having to look happy, invulnerable, clever. With masks down, I walk, talking to the moon, to the neutral impersonal force that does not hear, but merely accepts my being. And down not smite me down.”
                                                - Sylvia Plath

The Moon has been a source of human fascination throughout history, and there are countless Gods and Deities representing, or who take power over or reside within the Moon.
I wish to explore this obsession through my own experiences- specifically a recent moonlit walk that inspired a group show in The Lobby which myself and two fellow students produced art for and curated.
I’ve been intrigued by the lasting effect the Moon seemed to have on us, and its very definite presence in all of our works since the event. 

PLAN
I will be exploring folklore and mythology surrounding man’s obsession with the Moon, the effect the Moon has on humans both physically and psychologically, and the effect that the Moon has on this planet.
My piece will take the form of a wall-based montage/installation, demonstrating my artistic process and my exploration of the proposed topic; The Moon as a symbol of power/personified force. The material displayed will be from a combination of sources; some of my own creative work and experiments, found items, and key research.
By working in this way, with ‘process as art’, I will be collecting and displaying stimulus in a way relative to Wolfgang Tillmans’ Truth Study Centre, compiling and categorising information; or Bridgette Ashton, specifically her use of zines and books as a method of presenting information.
The significance of working in this way is key to the subject matter- Considering the notion of obsession/lunacy as key themes, and my work mirroring these ideas. 

REQUIREMENTS
I will be using a combination of masking tape, Blu-Tac and pins to attach my pieces to the walls.
I will require no assistance with the install or takedown.

The Big Walk - Lobby - Group show

The Big Walk - Statement

The Big Walk

Didge Dowley, Kensa Rescorla, Jess Young

As a group, we three decided to walk the 25 miles of coastal path from Coverack to Cury in Cornwall on a date coinciding with the full moon in order to build a new experience, and to feed our art practices.
We took on this adventure from a mutual love of the Cornish landscape and a desire to challenge our bodies and minds.
The journey took just short of 12 hours, the majority of which was in darkness, walking exclusively by moonlight as much as possible.
What is shown here is the culmination of our preparations, the event, and two months of unravelling and reflecting on our experiences.

The Big Walk - Lobby - Curatorial issues (Long!)

J: I’ve got loads of photos, black and white photos. I quite like that one, because you can only see the lights, in black and white. And I like that one with the sign. And I have loads of bits, so they can just go up wherever... just all of the stuff from the big walk. I quite like the photos... They’re cheaply printed, and black and white. But it didn’t really seem necessary...

D: It was kind of black and white wasn’t it? Cattle. Monsters!

J: I thought that was necessary. And I like the signs as well... We were being dictated to even up there.

D: Amy came up with an idea to have a wooden sign saying  ‘25 miles home’, but I didn’t have time to do that. But we can do it if we want to.

J: We had a good time didn’t we, for much of it.

D: It was hard though. For me it was, I’m sure it was for you as well.

J: It was a long way, I was very thirsty.

D: I think I put that on my ‘negative’ boot. Thirsty!

J: We should have an empty bottle, just to sum it up.

D: Right, we’ve just laid it all out so we can have a look at what we’ve got. It’s going to be hard doing this... You know that?

J: It’s a curatorial challenge!

D: It certainly is... I never got to see the Scott exhibition either.

J: Oh, it was good. This is our own Scott of the Antarctic exhibition.

D: Scott-ess

J: Of Lizard Point

K: Right, so are we going to work around the horizon, do you reckon? Or just cover it?

J: I think there are benefits to doing either

K: it kind of doesn’t matter really does it, just go with it?

D: Let’s just decide where things are going to go? I like the idea that if that thing goes up, you just write on top of it? So that it continues the thing across it... Because I’m not sure whether we should cover it or...

K: We won’t know, will we? Until we get going?

D: I think it would be interesting not going over it

J: It’s a constant thing... And they can be in weird places as well.

K: We want it to flow don’t we?

D: Well maybe we should make that the defining point of reference? Because then we have something to work with.

J: I like the idea that it’s this sort of chaotic... splat... following this journey. So I think it’s quite appropriate that we work around the horizon.

K: One part could be the beginning and then we could work around do it that way... So if we’ve got photographs... I don’t know, we could have daylight... then night time

J: It’s a small space, but there’s no reason that we shouldn’t creep up the stairs.
So, what are we going to do then? Just place things where we think...?

D: I’ve just got an idea... That that moon, that one there should be high up! As though it’s looking over...

K: With the light shining on it. We could start with that point. In a corner somewhere

J: I like that corner... It looks over everywhere.

D: I need to be able to take it off...

K: Can you get up in the ceiling? You can push these up can’t you, and then just hook it on in there...

J: Just hang it from the metal... That would mean it would move which would be quite nice. Do we have any wire? Hang it over the bar, put the tiles back...

K: If we can get a bit of wire, or a bit of string to hold it up.

D: I need to be able to take it down, so I can put it for my assessment.

J: But your assessment can still be... Or do you need it to be a part of your structure?

D: Well I kind of like the idea of being able to take it from here and put it back there... Then bring it back again.

J: If you get a bit of string or wire then you can make something that it just fits into.

K: Do we want anything, like a plinth or anything to just put things on? Because we’ve got bits and bobs, haven’t we. I’ve got the map there...

J: We’ll come to that in a bit... Get the moon up, then we’ll have our guiding light.
That wire’s quite thick... Will the tiles slot back over that? What about fishing wire? Because that’s quite strong and you won’t be able to see it.

(Found some metal wire)

D: So what do I need... A hook at either end don’t I?

J: Well what you need to do is just hang it up from the ceiling... And then you can slot that in. So the wires around each other so it’s really strong. It needs to be really secure, so go round and round as tight as you can.

D: I should make sure it’s the right height.

J: Maybe just make one loop... And then move it round so the ugly bit is behind the tiles, and then that’ll just slot in.

D: I’m just hoping it’s the right height, what do you think?

J: I think that’s probably about right.

D: Is that too low, does it need another one there?

K: No, that’s a good angle. Go round and make sure it’s secure. You could double it up.

D: It’s ugly though, isn’t it?

K: You don’t take any notice of it really, you can’t really see it.

J: While you’re up there, do you want to angle the light?

K: There, you’ve got the shine where it moves.

D: If I move it that way, the moon will actually move, what do you think?

J: I like it at this angle because it overlooks the whole room.

D: I like the fact that it’s quite close to the horizon line as well. I got to use one of my pieces, that’s good!

K: It’s got a nice shine hasn’t it, and on the wall...

K: Right!
J: Right!
D: Right!

J: Okay, so do we just choose what goes next then? Is there anything else that needs a specific place? That’s probably the way to think about it. And then fill the gaps...

D: Do you think that needs to be somewhere opposite?

K: Balance it out a bit.

J: I’d quite like to see it over there.

D: It’s really nice just starting with big stuff. I think it’s great that you did all of that writing there. Because that has got to be the biggest thing here really, in lots of ways.

J: I think I’d like that to be lower, closer to the horizon.

D: And what, near a mountain... or? Do you want that writing to be through the crack there?

K: It looks better lower down. I’ll tell you what!...

J: It matches up!

D: Are you going to write on that?

K: No, I don’t think it’s needed! You have all of those scratchy marks that are a bit like writing.

D: Picture hook!

J: Do you want to play with the light at all?

D: Definitely, shall we have it on the moon?

K: Shadow as well!

J: Do you have anything big that needs its own space?

K: No, I’m not going to put my moon up. It’s not going to go.

J: So now is it just plastering the walls, basically?

D: Are you sure?

K: Yeah, if the whole wall was black then I wouldn’t ‘mind, but it has edges, and I don’t really like that. I’ve got it on my poem. I wanted to put a background on, so I put it onto acetate...

J: I might also have... a poem on a picture! Should I photocopy it so it’s on A4 and we have one each?

D: Do you think that we need to have that table here? That we had for your maps,to put things on.

K: I’ve got a map, I’ve got a book of photos, you’ve got your bits..

D: So do you think that we should do that? Have a table, and have those chairs like we did last time? Because I like that.

K: It was nice; you can sit and just take it in... And I don’t like the chairs there to be honest.

D: So we can make a sitting area. We’ll do that after though. So shall we decide what will go on the table, make another pile? Have you got the string that you used? It’s in something, isn’t it?

J: Oh! I’ve got my string!

D: Excellent... So we can have that..... What do you reckon to the table we talked about earlier? So like a lit table. And then have it as a hanging out place for people to sit.

K: (The map) It doesn’t have to be open, but you can see where it’s been used.

D: I think it’s really nice because we have photographs of the map in places that you can see.

K: So there’s connections... So if we have the seating area there, we can have the shoes... And it’s almost like somebody’s sat down there and taken off their shoes, and is resting there for a minute.
D: How about... What’s the next big thing?

K: Well we’ve got pictures and poems, haven’t we?

J: My stuff is mostly just little splatters that can be collaged, and montaged.

K: It kind of needs a place of its own doesn’t it?

J: But it doesn’t all have to go together, and it doesn’t need to be one big...

K: You could do little groups couldn’t you?

J: So is there anything else that needs specific place?

D: I’m just thinking about the fact that people are going to be sitting here looking at the map and the string... Do you think the black and white photos should go into this like, framed area?

J: What in the door?

D: Yeah, because people are going to be sitting here.
Shall we just get our poems out and see what they look like, because I have two versions.

K: And we’ve got up there as well...

J: Okay, well they should go together in their little family.

D: Because I think they’re kind of important, they’re a big statement, these things.

J: So they probably need space.

D: How about here? Because that is actually at eye.... What is it, 160? Is that the classic...?

J: We don’t need to bother with that shit!

K: So we can either have them there, or we’ve got that there (Other wall), but that might be out of the eye a bit.

J: That’s good, and then we’ve got the light too, so we can have two lights as well if we want. What do you want them up with? I have Blu-Tac or tape or pins.

D: What pins have you got... the gold ones?
Blu-Tac would be easier wouldn’t it?

K: Yeah, I think Tac. Pins can be really distracting.

D: I’ve done mine on photo paper which is a bit shiny.

J: If you don’t want it shiny you can always photocopy it.

D: Do you think that would be better? I’ll just try it.

J: Okay, is that far enough from the wall?

K: I think you need that gap; otherwise it’s too tucked away.
And it doesn’t matter that that paper’s shiny does it, you don’t notice.

J: The light’s right on it and it’s not giving any kind of glare is it?

D: That’s really neat, isn’t it?

J: The rest of it won’t be!

D: That’s okay... because we’ve got this formal element in it, and everything about it can be chaos. Such a good decision not to go over the line.

K: Do you want to do your photos next?

J: Do you want them just like a grid?

D: How many have you got?

J: Well they don’t all have to go up, just the most important ones. Definitely cattle.

K: What about in a line? Like going with the line of the horizon?

J: Oh I don’t know, that might be a bit like... family portraits?
What do you both think about how they all go up? Because like I said, they don’t all need to go up, or go up together. I just pulled them out because they’re photos.

D: Do you think the colour ones should go in there as well? Because if they’re like a collage as opposed to a symmetrical...

K: I just think that if it’s too symmetrical it might be too box like, and might be a bit contained...

J: Especially within that frame.

D: We could paint the door black... And just leave the horizon line... For your moon.  Just experimenting.
Shall we just put some up? Or put them in front of that wall... Move the chairs.

J: Oh we have the whole door! I was thinking of it being cut off, but it’s not, we have the whole door.

D: I don’t know about these, but I’ll put them there anyway. They might just look a bit odd because they’re different, or they might strike something into it. They’re very blue aren’t they, it’s quite a nice contrast.

(Kensa matched a photo up with the horizon)

D: Oh, that definitely has to go there! Right, that’s a starting point!

K: It’s a shame we didn’t think about this before... We could have had lots of them, fitting.

D: Well there’s no reason why we can’t... We know what photos we’ve got.

K: We’re adding...

 J: Are they working like this... Splattered about? Because I really like it being on the horizon...

K: It’s fitting the others into this...

J: The others don’t necessarily need to be part of this club?

 D: Well we can be more formal about it now, I think. Have kind of groupings.

K: Well we’ve got maps. Maps and signs, and then driftwood...

D: Do you guys think that there should be Christmas lights up?

J: Yep!

D: And where do you think they should go?

J: Not sure yet....

K: Were adding to the landscape, aren’t we?

J: Putting our own memories in it.
What next? The space is kind of filling up.

K: So we’re going to have people sat here... We don’t want much behind it, do we?

D: Shall we do that bit now? 

K: Is the light box going to be switched on? It doesn’t need to be, does it?

J: Well if we’re not using the light box... What about the really low plinth that they had for the two hour hang... because if we’re not using the light box, that might be a bit neater.

K: It’s really hard isn’t it?

J: It’s harder than I thought it would be.

D: Right, there is a plinth here. It’s about 13 inches deep.

J: It might be nice it being quite low, I think that’ll be alright. It’s a little bit lower than the chairs, isn’t it?
Oh no! It needs to be facing the wall, I didn’t realise it had that opening.
How are you going to have it? I thought it was going to be like, chairs either side?

D: We can just try it, can’t we?

J: Another thing, we might not need to have all of the chairs.

K: Right, which way, because you want to have the chairs facing out really.

D: I quite like the idea of it being out, and the chairs being behind. I don’t like the idea of them being next to the wall, I feel as though it’s a social space. But this’ll be exposed... But at least it’ll be exposed on that side.

J: Unless you have it in that corner under the moon, and have the chairs ‘round it like that.

D: Let’s try that.

J: So that it won’t take up too much space. Are you happy for it to be in the corner?

K: But then they’ve got their backs to everywhere.

J: How did you have it for Kensa’s?

D: We had it kind of in the middle with the chairs either side.

J: It’s just that that exposed edge really gives me issues.
You could have it as we did before, longways, with the edge a few inches away from the wall so you couldn’t see it, but it’s not squished up against the wall. And then you could manage two chairs on either side. That’s a bit more social isn’t it?

D: At least somebody can sit there, and go like that... That’s how I’d like to sit.

J: And you can come in there and it won’t be in the way.

K: And actually, because they’re sat there, you could have something on the wall. You could have a collection of your little bits, so they have something to look at as they’re sat there.

D: Is that far enough away from the wall?

J: I’m happy with that... You can’t see the edge, and it’s not squished up against the wall.
Right, are you happy with masking tape and Blu-Tac? I like tape.

D: It’s kind of utilitarian, and that’s what I like about it.
What’s that Kensa?

K: This? It’s to stop them reading the next page. Because it’s got nothing to do with them! And nothing to do with the walk. So I’m just taping the book together... It can be opened.

D: Is that just an old map?

K: It’s the road map, so it’s kind of pinpointed... So there’s Coverack, and Cury there. And my ramblings.
Tape it up! Keep out.

D: Shall I sort the lights out so that they’re pointing at the photos?

K: Have you noticed with the horizon... How they’re spaced!

J: It’s like it wants us to do it.
I like that, our table of curios.

D: That’s a great shot, I love that one... The last one at the end. That’s so striking isn’t it?

J: It just was though, it was so bright.

D: I like the fact that this is here (Chairs).

K: It gives them somewhere to sit, and to look at, get close to it.

D: Torches!

K: I thought about my head torch, but I didn’t want it to go missing.

J: I don’t know if it’s just me, but I kind of feel that I don’t have ownership of any of this work you know... It doesn’t feel like stuff that we’ve made individually?

D: What, because we’re a group?

J: Yeah... I don’t feel like I made that, and I made that...

K: Not at all. Actually, it didn’t even come into my head. And that’s really good, I think it shows...

J: It was very much a shared experience wasn’t it?

K: And we want that to reflect.

D:  What I was quite excited about was seeing everybody’s own experience of the walk. And that’s exactly what we’re seeing right now, actually.

K: And we’ve all done a poem... And we all became obsessed with the moon.

J: And the horizon. We’ve turned into lunatics.

D: It’s so cool that you got this space before, and the horizon. It wouldn’t have been the same thing.

J: And it really gave us a sort of grid to work from. Framework.

D: And so important to the walk. Even when we couldn’t see it, it was still there.

K: You could certainly feel it... Especially when you saw the outline of the cows... I wanted to do something with that, but I just couldn’t really think of anything.

J: I felt that the cows were really important. I feel like I need this cattle picture somewhere!
There’s a spare wall in there, maybe I should just stick in on that wall!

K: On the door.

D: Why don’t we have them there, underneath there? Maybe just the dangerous ones... The darkness. Because they’re actually indicative...

J: I think there’s only room for two.

K: I quite like them one on top of the other.
I quite like that there’s lots going on here, and not much going on over there... Because that flows, doesn’t it?

D: We’re walking.

J: The walk was kind of like that... There were times of peace and serenity, and time when there was a lot happening... different districts.
Is that okay?

D: I’m not sure actually, I think they look kind of clumped up there. I think they should be longways. Kensa, what do you think?

K: No, I like it like that. If you come over left, make them more central, that’ll be ideal.

D: We should have that little cow, photocopied... and have them dotted around! It’s a shame you couldn’t have little words like ‘monsters!’

K: ‘fucking hell!’

J: ‘COWS!’ ‘PONIES!’

D: I’m not so sure.

J: Neither of you have your happy faces on.

K: Something’s not quite right... and I’m not sure what it is.

D: I think it’s because... The man falling should be kind of, on top of the top of the mountain maybe. I don’t know.

J: I don’t feel like there’s space there though, I think the moon needs it. Shall I try them alongside each other?

D: But have the black one on the right hand side... It looks like it’s closer to that mountain.

K: I’ve just had an idea! Because we’re going to have something there... Put them there.

J: That’s a good idea!

D: Have we got the something that’s going there?

J: I’m going to write it today!

K: Is that better?

D: That is better.

J: It makes more sense, I don’t know why, it’s really weird.

K: It wasn’t balancing, was it? I think it’s because we’ve got that there, we’ve got the moon over there, so we’ve got this more kind of triangular...

D: It interrupted the flow a bit didn’t it? I didn’t think the horizon line was that important, but it most certainly is.

K: Right. Do you want to put anymore bits up there?

J: I don’t think it needs it, do you?

K: I think that’s find, I think it’s balanced...

J: I didn’t want to give it too much.

D: More photos. We have this space here as well.

J: All of those photos are like artefacts aren’t they...

K: Maybe at the top of the stairs. Just at the top there. You could have a nice... They are recordings, aren’t they. They are artefacts. So how many have we got, 8?

J: I don’t like that one though, I don’t think it goes, it’s too black. And I don’t know what you think, but if that colour one goes in, I’d like it to be black and white rather than colour. I know it’s almost black and white...

D: It doesn’t have to go in, we can take it out.

J: I’d like it to go in...

K: But in the same format.

J: I’d rather see it as a photocopy.
I’ve taken out one of the map ones because I don’t think we need it. And that makes an even number.

D: Are we going to have these in some sort of order.

K: You could have those two together, two maps...

D: Or should we mix them?

J: I’d quite like to see them mixed.

K: Opposites. Stick the maps at opposite corners.

D: Now we need to discuss Blu-Tac... as a point that we might well be picked up on. Is the fact that we used Blu-Tac, and they’re just stuck to the wall, and they’re unprofessional.

J: It kinds of feels though, as though they’re documentation rather than ‘art’.

K: It is, yeah. So it’s nice and neat and tidy...

J: It’s practical because it’s very very sticky. It doesn’t damage the work, which double sided tapes and things would. It does look fairly neat, and it’s very secure. It does the job. There are reasons why we’re using Blu-Tac as opposed to anything else.

K: I like that. You’ve got the railings as well haven’t you; it’s all square up there.

J: I think this looks great. So if I sort out the thing to go in the wotsit...

Peer assessment - 01/02/2012

A. So my work is about place, and about, I think, the desire to bring a lot of places that are significant to me, together into one thing... rather than it just being this disparate mess. So I’ve been thinking a lot about places that are significant to me, and why; so places that I’ve lived, or that I have attachments to through family, and finding ways to visually connect them. So that’s what the models are,  is bringing a lot of places together into this one landscape that I can hold and be a part of. So it’s all a quest for that really... to feel less... in pieces. 

Q. What artists are you looking at?

A. I have looked at Tacita Dean a lot; I think she’s a really interesting artist. She talks a lot about place... Her work’s really kind of delicate, and she kind of builds narratives and stories that are based on fact, but twisting it into fiction.... altering things as she works as a way to present something in ways other than just the truth. I really like Charles Avery who was at BAS7. The way that his work is... I don’t know if you know much about him, but over the last few years he’s been inventing this place called Onomatopoeia, and every artwork he makes is another chapter in this story... So it’s an ongoing collage of lies. I quite like that. And a lot of writing as well, I’m really into literature... Like Dylan Thomas, the way he talks about place. There’s a poet called Stephen Vickery. A Lot of places.

Q. So have you created your own narrative?

A. I think that’s happened. I don’t think it’s been a deliberate thing, but I think in trying to make all of these places into a single thing I have created a new landscape that I can inhabit in my mind. So I think the narrative is there...taking all of these little bits of memory, and building something out of them. 

Q. Does all of this stem from one... I can tell it’s very to do with the outdoors... Does it all stem from one trip? Because I’m seeing a repeat of this one image.

A. What the prints are... That diorama was... I don’t know if you know, but Didge and Kensa and I went on this walk in December, and we walked 25 miles under the full moon, we planned it to coincide with the full moon, and it was to get a new perspective on the Cornish landscape, and to discover something new for ourselves. I made that diorama in preparation for that.  And then this diorama was 6 places or so that I’ve spent time in or lived in that are constantly on my mind... And then the prints on the wall are made from a combination of images of both. So it’s combining this imaginary place, or this strange place with all of these realities... all existing together. 

Q. Is it a fantasy-type place?

A. I think there’s an element of fantasy, where it’s taken me now. I think there always is... but it’s based in this sad reality, and then taking that into a fantasy that makes a bit more sense to me. So it’s kind of a mixture of fact... and then the psychic... fantastical, made up element. 

Q. How will you present it... will it just be all of this on the wall?

A. Like this, yeah. Well these are kind of finished prints.. And having talked with Edith, I think the process is very important. If you work in the studio you’ll see that this wall is always plastered with stuff, and I think it demonstrates this search that I’m on for whatever it is that I’m trying to find. That’s why I decided in the end to keep the wall like this, because it does demonstrate this process, and this kind of frenzied, obsessed thing that I have in me. 

Q. You did take them down for a bit... Was that just to paint, or...?

 

A. Yeah I did. I took it down because I thought I didn’t need it anymore, and then once it was down for a bit I thought ‘no I do, I need that’, and put it all back. It just seemed that without it, it had lost so much of what it meant before. This project isn’t done... I think that’s really important. So I don’t know if I ever reach a conclusion, if I won’t need it anymore, but at the moment I feel like it’s really intrinsic to what I’m trying to put across. 

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I didn't really feel like people 'got' my work today. Is that my fault or theirs? If it's mine, is it my work, or is it my failure to explain it properly? 

How would I have answered these questions better?

I felt confident and certain talking about my work today, and I didn't feel nervous or defensive. I think regardless of any reaction/misunderstating of my work this is a huge development, and I feel really thrilled to have some degree of certainty about what it is that I'm doing, and the confidence that at least it resonates in the right way with me.