Today’s discussion was important for me to introduce – I hoped – some kind of relationship between the different aspects of my work. I also had some specific questions about the critical evaluation to clarify the way the text should work.
I showed three images of each area of practice and tried to explain how they were connected intellectually. As usual I don’t feel that I did a very good job. I am more convinced that I become inarticulate when expected to explain something that is only partially clear to me. There are to many extraneous ‘bits’ that keep popping in and I find myself side tracked. Judith’s questions are much too pertinent; she has the ability to ask the question that brings a carefully constructed logic tumbling. Today there were two questions the first; “what colour is this piece?” The problem of colour has been troubling me for a while. Where has the colour gone in my work? The piece she was referring to is dull, dark blue, and the colour really isn’t that important. It is the surfaces and what happens to them in these pieces that is important. As a development from the blue box and bound sticks works I am pleased with them, but I think that if they were very colourful they would become ‘about colour’ this is very conflictual as they bear some resemblance to some work that I want to do post MA with coloured resin and closed/open space.
And the second; “I would like to know where you are in all this work?” My only answer(s) were either ‘ I don’t know or I’m in there somewhere. I think I avoided saying this and the conversation led to a discussion about how much of oneself will ‘show’ in a work. I am still trying to find a means/form of expression that works properly for me (a obvious reason for continuing education through the MA) so where I am in the work is a reasonable question. It occurs to me that I am trying to find a way that allows me to address the things that interest me in a way that is amenable to the fine art process.