http://sites.a-n.co.uk/artists_talking/projects/single/378535 Summer 07 - Pre BA Yr 2 at University of Worcester Sun, 07 Sep 2008 18:53:09 +0100 a-n rss generator a-n The Artists Information Company and contributors edit@a-n.co.uk technical@a-n.co.uk http://sites.a-n.co.uk/img/logo.gif http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 Having finished the first year of my BA at Worcester, I was pretty eager to keep up the momentum I had gained while working through January to May. The second semester had been a real success and I felt that to simply walk away into a summer recess would be extremely detrimental to my practice and the discoveries I had made about my work and perhaps more importantly, how I work. I had made the decision to paint. The modular nature of my degree course meant that different disciplines were sampled and students could then make a decision based upon what they enjoyed, excelled at etc. But painting was certainly not where I pictured myself when I started the course back in 06. Sculpture? Possibly. Ceramics? Maybe. But I never thought I had that quintessential 'something' that I believe true painters have. People such as Tom Hammick & Craigie Aitchison, two artists who make images that are saturated with vibrancy and honesty. Well, I think so anyway.So with a few extra tutorials, after the second semester had finished (thanks J + P), I began painting with a studio to myself.Safe to say that there has to date been some stuff I'm not particularly happy with, some work that has potential and some paintings that seem to simply want to be painted. I'm trying hard to push myself to drop any inhibitions I have about 'making a mistake' when the brush hits the canvas and when I do that, it seems that most of the interesting work emerges. I recently got hold of an essay by Roy Oxlade in which he discusses the merits of ‘real drawing' over good draughtsmanship. It's a really interesting read and made me rethink the way in which I draw, paint and make marks in general.And it's not even the second semester yet!... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 An interesting day for sure today. I visited a colleague in Gloucestershire who is working towards his PhD in Painting. To get an insight into a studio practice at that level was a particularly valuable experience for me. It's becoming increasingly clear to me is that the more contact you can have (speaking as an undergrad) with others working at and above your own level, the more sparks of inspiration, inquiry and impetus seem to appear. The work I have produced so far has, I think, been lacking in a certain naivety. By that, I mean I want the paintings to have an essence of being raw, not over worked or convoluted but existing with something like an unhindered childlike freedom. I'm still working through these ideas so bear with me if my words are cluttered.....The other major factor that is informing the paintings is memory. I'm part way through four paintings at the moment. Three smaller canvases and one which is six foot by four foot. All of the paintings are based upon memories I have from my home town of Barrow in Furness. I find the idea of relying upon thought and memories as subject matter a fascinating starting point; the fluidity and shifting nature of some memories means that to find a route by which a recollection can be realised in the physical, is a real achievement. Again, through my research I found a catalogue from a show by the painter Andrzej Jackowski, who also draws upon memory when fashioning his images. But the thing that has intrigued me is that Jackowski's work also possesses the understated style that I admire so much. I have to say that I was pretty pissed off today when I returned to the studio in Worcester as the large canvas (that at the moment is a fairly vibrant pink) had lured 9 mosquitoes to their turpentiney deaths. Never mind, they brushed off easily. I'm eager to see what's going to happen with these paintings. Primarily because they are my first real attempt at seriously addressing memory through painting and secondly because I'm dying to try some of the techniques and approaches I saw in Gloucestershire today.So yeah, a good day. But not if you are a mosquito I guess.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 Digging through some old drawings today that were done from memory; its interesting to compare the mark making between these drawings that have been teased to the surface of my mind and some other graphic pen sketch work I did in the landscape.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 I started some drawings in the studio today all of which were from memory. The aim of the work had nothing to do with achieving an accurate reproduction of what I saw, but more to do with capturing the slightest essence of the memories I have. I guess some people might have fairly vivid recollections of childhood and adolescence, but to be honest, I tend to have trouble finding my keys since I last walked through the front door. My memory, (speaking from a visually detailed point of view) is quite limited. I tend to have much more of a cognitive imprint left by the emotion of an event and this is what I wanted to have present in my drawings. Letting go of detail and the compulsion to ‘do more' in a drawing can be tricky, especially when you want to have enough marks on the paper to depict what it is that you are trying to communicate, but not so much that the image lacks spontaneity. I've already mentioned Roy Oxlade; his views on the current state of contemporary drawing are a real impetus for this distillation of my drawing and painting. I guess the memory must inform what goes onto the paper and the problem is gauging where the emotion of the event finds its boundaries and limitations in two dimensions. I'm really glad I took the decision to work through the summer as I feel like there is real progress being made; an empty studio to yourself really enables you to fully concentrate on the job at hand. I really dont know if I would have covered as much ground as I have done over the last month or so if I had left my studies to be resumed in September.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 Of twelve paintings I have worked on over the summer, I decided today that there are two that immediately stand out to me. Two out of twelve........I have no idea if that is a reasonable percentage or if it is way below par?? When I was studying Photography I was told by a sagely lecturer that if you get one or two good images from a roll of 36 exposure film, then that's a pretty good result. But I feel somewhat frustrated that I have not persevered with some of the earlier canvases and tried to push through the idea that they were not 'working' somehow. But, a friend said to me last night that I am expecting too much from myself at a relatively early stage. The image of the red building is again a local landmark to my hometown. The disused coastguard tower stands facing out into the Irish Sea and is illuminated by wonderful sunsets more often than not. I want my images to explore the intimacy of a place; the particularity of space. I think that the image here is beginning to do this, but there is further ground to be covered.I have just started to read 'The Poetics of Space' by Gaston Bachelard which is helping me when exploring my paintings in regards to their origins being rooted in memory. His work (for those who have yet to discover it) is fascinating; the disection and examination of how we relate to physical space (houses, attics, cellars, wardrobes, drawers etc) has prompted me to ask questions of what my paintings are about as well as what they are of. The poetry of a scene appears to be, perhaps part of that elusive 'something' that makes a successful painting just that, successful.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 As fantastic as an empty studio is, I will be glad to get back to a social element of work when the new semester starts in September. The paintings that I have completed have started to appeal a little more to me as I have been living with them for a little while now. But throughout the summer, one question has been nagging at the back of my head. And that question is this.. Is art that strives to depict the poetics of a memory, a feeling or a moment as valuable as a perfect representation of a subject? And I am beginning to think that it is. I had a conversation with some friends a few nights ago and I vehemently argued that a painting, drawing or print that was naively constructed yet constructed honestly was as valuable as a perfect reproduction of a subject. I was staggered to hear people saying that they would much rather see an accurately executed piece of draughtsmanship over something that was full of feeling.... If anyone has thoughts on the subject, then I'd be interested to hear them as I'm thinking of incorporating this element into my research over the next year. Feel free to email me at: danroach1@btinternet.com... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 The arrival of Noah our baby boy has meant that work has slowed to a reduced rate which could be a frustration to some people. However the frantic pace at which I had been working up to his birth meant that I have a lot to reflect upon before the second year of uni begins on the 24th September. The work I have done feels like I have scratched the surface of where I feel my practice is heading. It has also given me confidence that I can be a good painter…….eventually. The latest work that I have been doing is for an exhibition that is celebrating the 150th anniversary of Elgar (the city’s most famous son). I wanted to acknowledge Elgar but in a way that at its most base level was anything but obvious. I think I managed to achieve that pretty successfully. The investigative and probing nature of my paintings over the last few months has informed this latest work. I painted the scene quite freely and only now looking over the final picture, it is clear to me that I have constructed the composition by leaving out specific elements so as to highlight what should be there, if that makes sense. Going into the new semester, I have decided I want to draw more printing into my art. I’m extremely interested in seeing how a single image can evolve between drawing, printing and painting and what new discoveries can be made by working between the three formats. A friend said to me last week, ‘So now you have a baby I guess that puts a real strain on you being an “arty-type” then’? I replied, ‘The need for me to make better art and more of it is more important than ever. I want my child to grow in a loving and highly creative environment and to realise the value of art in his life’ That, and not to refer to any artist as an ‘arty-type’... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 Well, the beginning of the new semester is three days away and I guess now is a good time to reflect upon where I was at the start of my summer (and blog) and where I find myself now. I genuinely feel that two specific developments have occurred since the start of June. Firstly, I have become aware of my own ability when it comes to painting, that is to say that I have become more confident in my own ability and talent to create sound work, worthy of being. In a strange way, a part of my thinking has come back upon itself as in the first year I had a personal backlash against some work I had created which was an investigation into process lead work. I had a shift in stance deciding that I wanted to find a 'better' approach to my painting by concentrating upon factors such as form, subject matter and composition. I didn't want to enter into the realm of producing work that was essentially 'directionless'. I looked at the idea of work (primarily my own) that was dictated to by the creative process was somehow unjust, faltering, fake. Hang onto that thought..........My progress and development, from a professional practice perspective, has benefited so, so much from my work over the summer. I'll do it again next summer for sure. And it is because of the work I have done that I feel like I am on the cusp of taking a step up to the next level of painting; the last two paintings I have done are so exciting to me, a real boost of confidence. But, and this is where the dichotomy arises, I can see that dreaded process at the beginning of the work. This really un-nerved me for a few days, but I realise that I now control the process. I have taken control of the direction of the work and harnessed the power of the making process to meet my needs and expectations, rather than seeing what the act of making would throw up when I stopped painting. And, to have that feeling of capability, ability and I guess possibility at the start of the new academic year gives me a heady buzz of what might happen over the next two semesters.This blog has been a god-send as way of a reflective exercise, helping me examine and understand my successes, failures, strengths and weaknesses. The temptation is to keep going with this record but perhaps a move to the 'degrees unedited' might prove to be more apt placing for my thoughts. As a final word in this introspective, I feel that I have extracted just as much out of my time as I possibly can, used that time productively and  constructively and progressed as an artist which I guess is what most of us want to do.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 In light of my first week back at uni, I felt I had to post an update as to what has been happening and how working over the summer has impacted upon my work now that I'm back within the 'structure' of a timetable.I don't know if many other students experience this but previously, when I have had a week or two off (reading week and last summer holiday for example) it has been a real buzz to get back in the studio, yet it can be a week or two before you build up anything like a workable momentum, I guess it's a sort of post-holiday slump. I had it really bad in the second semester last year, I came back after Christmas and I felt the course was screaming from the outset "Make something right now, make it now and you better make it great work, full of inspired ideas and clever commentaries"..........I thought wow, some of the time I get a mind-lock just by looking at a blank canvas or paper, so that added pressure was simply not needed. But this year seems different. And I'm sure I know why...Our first module was based around Contemporary Painting. Obviously entering a second year level of study, work is very much self directed with the tutors providing support as and when needed. We were set to task, writing our own briefs from which we would base the foundations for the years work. Having a body of paintings from the summer that I could review, critique and learn from meant that I felt as if I was already half way towards figuring out what this years work should be investigating and heading towards. A continued system of work (be that drawing, painting, printing, photography, sculpture etc) over the summer holiday has meant that instead of being stood in the studio thinking what 'should' I paint, I can pretty confidently examine the paintings so far and see what I 'need' to paint in order to become better at what I do (with a little help from the lecturers)Please don't misunderstand me, I'm certainly not saying that I feel like I am ahead of any of my peers, but I do feel like I'm ahead of myself. I think that anyone entering into degree level study these days is to be commended, if not only for having the courage to take on the financial ramifications. And it's thinking about things like that, that make me want to get hold of this experience and wring every last drop of value out of it that I possibly can. So when it comes to reading week, Christmas, Easter or summer, keep a HB and pad in your coat or a compact digital camera, because perpetual art doesn't have to be hard at all, plus it's good for you and your practice.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 Good news came today with word that the exhibition for the Elgar anniversary has been hung. I'm off to visit it tomorrow to get some pictures of the work in situ; I'm probably equally as nervous as excited about it if I'm honest. Started another two paintings yesterday that are concerned with the current working idea of memory. The work seems to be becoming ever more visceral, more concerned with how the marks are made on the canvas. It's no surprise then that I'm looking forward to seeing the Baselitz show at the RA this Saturday. It's going to be a busy day; hopefully I can take in the Baselitz work, the current exhibition of Andrzej Jackowski and also The Painting of Modern Life at the Southbank Centre. Actually, it seems like a good time to go as there are quite a number of relevant things to see that all dovetail into my own work, in one way or another.One thing that is proving a bit more difficult than I ever thought is having to share the studio at university again! I know that any shared working experience has its merits, but I was really spoiled over the summer having so much space to spread work out freely and walk around it, look at it from afar, leave it, come back knowing it would still be in the same place etc.....Oh well. But on the up side, some of the peers that I most respect and whose opinion I value greatly are back around me, which is a real help when looking for input or feedback in relation to what's going on with my work.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 Having had the experiene of visiting London last weekend, I began work in earnest again at the beginning of the week. The drawings and printwork of Baselitz, Rego and Jackowski had spurred me on to explore the memories I was working with through a programme of drawing and etching, before painting the resolved outcomes.The attached images are just a few of the drawings I have completed over the last few days.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535 http://sites.a-n.co.uk/artists_talking/projects/single/378535 One of my current modules is focused around making images, be it painting, print, digital imagery, drawing or photography. I have been drawing a lot based around a motif that has developed in my work. This recurring form has populated many of the drawing I have done, in varying guises and locales. I wanted to employ some etching in my body of work but there have been some inherent shortcomings in the images making the migration from charcoal, pencil and pastel to a print based medium. I am fully aware that etching carries a unique aesthetic and those compositions that may work in one medium may not necessarily transfer to others easily. But even so, I'm eager to se if I can resolve the situation and produce at least a few etchings that embody the essence of what it is that the original images possess. Perhaps etching may not be the way forward; chine colle or aquatinting might be more akin to my needs. I'll have to continue to experiment, but with four week already having passed, eight weeks worth of lecture time seems a short stint in which to hone new printing skills and deliver resolved imagery produced to a professional standard.... Thu, 01 Jan 1970 01:00:00 +0100 http://sites.a-n.co.uk/artists_talking/projects/single/378535