DEGREES UNEDITED

# 8 [19 November 2008]

Suffering for my Art... 

The inability to look down, dislike of enclosed cramped spaces, tiredness, incapability to make fast movements, nausea, stomach cramps and the struggle to keep liquids and food down are all symptoms of the dreaded sea sickness which I experienced yesterday. Bright and early at 5 am I arose full of excitement and optimism, and went with my partner to his place of work, a small fishing boat "Jodie-B" on The Solent. Aiming to take photos, sketches, maybe quick water colour paintings depending on the weather and notes about the job, I arrived with my packed lunch and pink cat paw welly's. Having been before for the cuttlefish season I was feeling confident that the November oyster season would be a breeze! 

Alas, no. The flat calm of the harbor lasted for approximately an hour until ferry's began steaming up and down The Solent. With ships at least 5 times larger than us, along with the dragging of the dredges on the seabed made our little trawler rock so I was holding on for dear life. I managed to shoot a few good photos of the crew fishing as the sun rose on the horizon, but then my confidence and health deteriorated rapidly. I was dropped off on dry land at 11:30 because I just couldn't stand another 5 hours of seasickness.

Once home and  dry with the artifacts and images I managed to collect on my debilitating trip I began to think of a more creative way I can display my sea treasures collection shown in my previous blog. The old shelving unit I currently have them housed in still looks unprofessional and more like the centre piece of someone's living room. I would still like to combine my historical artifacts with my great grandads boat Susan-M. Therefore, I could scan into photoshop some artifacts such as: plates with Victorian decorations on, to layer them with Susan-M photos. Maybe to create a heightened romantic image showing my families fishing story.

I am also thinking of creating an artists book showing the artifacts in a different, more intimate way. Today, I will experiment with different ways of presenting my artifacts by arranging them by size etc in order to get some inspiration now my stomach is finally back in order after yesterdays ordeal. I have bought an empty concertina sketchbook complete with case which I am going to use as a base for my artifact book and am in the process of designing a new modernistic cabinet to house them.         

# 7 [12 November 2008]

A Portrait of The Solent... Artifact Photos...

A work in progress. 

# 6 [12 November 2008]

Emerging from the Midst of Arduous Study... 

Having just read this months a-n magazine and realizing my first blog post has been featured in the "bits from the blogs" last page, it has urged me to update you all on my very busy first few weeks of semester one. As previously talked about I am focusing on the mystery of family fishing boat Susan-M (lost at sea 1957) in order to create a distinctive installation piece to tell the story and to inform people of the true dangers of the sea and coast that apply as much now as they did in the past. However, this has come to a halt due to an abrupt dead end in investigating further images, articles and stories from family and other crew members. I have contacted local records offices, museums and even Metcalf Motor Coasters Ltd who built the trawler. Sadly, no response as yet.  

On the brighter side however, my partner has yet again began fishing the oyster season on trawler Jodie-B. He regularly comes home with treasures trawled up from The Solent. Wood from ship wrecks, victorian clay ink wells, canon balls, mermaids purses and the more common shells are all brought home for me to marvel at. Once I had amassed quite a collection, I was admiring them and it suddenly occurred to me that they build up a perfect portrait of The Solent. Its history is told and it's present. Therefore I am currently in the process of building up a collection of artifacts in the style of the traditional cabinet displays that were so popular in the heyday of the victorian seaside. 

These victorian collections, a great example of which is housed at Queen Victorias' home itself Osborne House, formed the first museums. Considering that "A museum was thus, in the initial stage, a response to the need to house collections brought into being by the enthusiasms of it's collectors" (from The Organisation of Museums: Practical Advice, pg 15), this implies that anything can be exhibited in museums. I have completed a lot of research into museum collections. Specifically, why people collect and the roles of curators in museums such as: The Pitt Rivers Museum, Oxford.

I have consequentially decided to let my collected objects simply speak for themselves. Hopefully this will enable the work to be honest, interesting and romantic for the viewers. I am aiming to create the same feeling of excitement, mystery and curiosity that I get when walking through history museums full of dusty unknown objects.

# 5 [4 September 2008]

Preparing for the Final Year Rush... 

I am aware that it has been far too long since my last post. This is because dissertation research has been some what monotonous. I have been reading about   British social and political history from the 1820's to the present day in order to get more contextual background knowledge. Research for the fast looming dissertation therefore it is a very long process filled with countless key dates, legislation acts, social events and eras to investigate. Trips to the seaside for sketching, photographing and general observation have also been hindered by the hideous Portsmouth weather. I am currently sitting huddled in a jumper, jeans and slouchy hoodie watching the rain drench my newly bought garden hammock. Consequently, studio work has moved into the slow lane.

I have however, began to think of my final year's degree work. I am now beginning further investigation into my Great Grandfathers' fishing boat. Charles Henry Conolly was a fisherman his whole life until the war when he entered the Navy as a minesweeper. Once the war had ended he returned to my home town Lowestoft to carry on fishing in the North Sea in newly brought boat Susan-M. On 24th November 1957 he left port with a crew of six men, including his younger brother John Conolly. Five hours after Susan-M left port the faint sound of an explosion and sightings of a flash of light on the horizon were reported to the coast-guard who promptly went searching for the trawler. Tragically, my Great Grandfather, his crew and Susan-M never returned to port and were presumed lost at sea. From newspaper articles I have been given it seems that, although nobody could know for sure, the boats disappearance has been explained by them tragically trawling a mine. The World War Two relic probably exploded when it came up in in the nets and immediately destroyed the 70 ft wooden boat. 

I have been fascinated by this story for years. It is ironic that throughout World War Two he dealt with mines, then when he left it was a mine which ended his life. I only have a couple of photos of my Great Grandfather but have recently been in contact with other relatives who have a lot more information about him and Susan-M. I therefore am hoping to investigate the incident more and create art work around the mystery that is very close to my heart. 

This will continue my mission to show what working at sea is like and how perilous the environment people flock to on holiday really is. Keep checking in to see my progress with this research and work. Hopefully it will all come together to create an eye opening piece to create for my degree show.

# 4 [7 August 2008]

Beside the Seaside... It's About Time...

Whilst flicking through this months Coast magazine over a naughty afternoon slice of cake I stumbled across an advert for an upcoming exhibition. The National Maritime Museum, London, will be opening a photography show called "Beside the Seaside: Snapshots of British Coastal Life 1880 - 1950". Opening on 17th September the exhibition brings together photographs, posters and seaside memorabilia to capture the essence of the heyday of the Victorian seaside. In a brief moment of excitement I visited their website to find out more. I thought it is the perfect accompaniment to current dissertation research. 

Throughout research a more and more focused topic has emerged in the past two weeks. Investigating Martin Parr's photos from his 1980's project The Last Resort, there is clear resemblance to seaside comic postcards for which Donald McGill is famous. His photos typically involve McGills most traditional postcard characters, the stern English landlady, the rather round jolly lady in a disgustingly skimpy bathing suit and the nobbily kneed geek gawking at the blonde bombshells on the beach. As my research has developed I have been thinking more and more about the current coverage of our seaside and coast in the arts. It came to my attention that there is a recent up-swell of nostalgia for everything nautical. Maybe because of the war in Iraq and recent downturn in the economy but there certainly is a revived interest in the seaside and everything nautical.

This has led me to think over the past few months that an exhibition about the history, the issues and possible future of our seaside tourism is much needed and would arouse interest. Alas, it was not me who organised it however, I am very pleased to finally see a photography exhibition has been put together in a major gallery.

# 3 [28 July 2008]

From the Quaint to the Utterly Vulgar... Portsmouth Seaside at its Best...

On a long sun-drenched walk around my university town of Portsmouth today I witnessed everything... From the opulent gin and tonic drinkers outside The Spice Island Inn to the absurdly dressed, badly tattooed sun worshippers at Clarence Pier. It astonished me at how there can be two completely different atmospheres on the coast only ten minutes walk apart.

Old Portsmouth consists of historic buildings, a cathedral, the round tower from the time of Edward III and a charming beach behind the 19th century wall. It is a perfect sun trap with not many people, a perfect place to sit to get some inspiration. There is the ultimate view of the harbour mouth where you can watch boats coming in and out, and a quirky shop selling up market country home wear. From here you can walk on top of the old wall, past anglers and fellow dog walkers without a care in the world.

However, you suddenly come to a repulsive sea front car park and from here the atmosphere sadly plummets. You abruptly stroll into what seems like chav, beer belly central! There are numerous arcades lined with hundreds of tacky light bulbs and deafening you with the chink of change machines and irritating music from once popular dance machines. It is crowded, full of sunburned larger drinking oafs and handkerchief hat wearing pensioners. They line the beach parking whilst drinking stale English tea to avoid the extortionate prices of this, frankly, run down pier.

These two sections of the south coast regardless of how incompatible are, to me, both visions showing absolute Britishness. 

Seaside trips were first prescribed to treat a number of ailments in the eighteenth century. People regarded the sea air and bathing as having healing properties and began moving from city spas to the beach. Bathing even went to the extent of having timed shifts for bathing and sleeping. This immediately caught on and the increasing fashion meant local spa amenities moved to the coast to form new seaside resorts. In 1783 the Price of Wales took a holiday in Brighton and from then on the seaside boom was well under the way. The railway age cheapened and quickened travel to the coast which therefore inevitably caused social tensions between the fastidious and more impoverished tourists. Resorts had to meet working class demands which meant that upper class visitors created their own coastal resorts elsewhere complete with theaters, dance halls and beach huts, their home away from home.

These divides due to class spread across the country in popular seaside resorts and as I have witnessed today are still very prominent. From Old Portsmouth to Clarence Pier, and Southwold to Great Yarmouth, as you walk around our very own UK coast the mundane and ridiculous sights are plentiful. No wonder photographer Martin Parr found a good deal of inspiration observing the absurdities of the ever present social hierarchy.

# 2 [22 July 2008]

The intellectual blogger... Brian Sewell doesn't know what he's missing! 

Following on from previous motivations into writing about art, I decided to punch the words "art criticism" into google. I was blown aback by the amount of articles about the recent anxiety in the profession due to blogging and its, what I feel, rather underestimated credibility. 

Jonathan Jones, critic for The Guardian mentioned that if criticism is to matter and influence the industry, it must go back to the methodological form of criticism from voices such as: William Empson, poet and critic, and Clement Greenberg. I agree with his opinion that now-a-days critics and many bloggers are simply "loudmouths giving our opinions". There isn't a day that goes by without me walking down the street criticising passers by, architecture and images in my partners ear. Therefore, am I simply a "loudmouth"? Or, when it comes to art, with my studies and ability to make observations, can I write a more informed, articulate opinion worthy of publication? We shall merely have to wait and see. With dissertation time looming my writing and criticism skills shall indeed be tested to their limits.    

I feel, as Jones has also alluded to, that maybe in this world of the ready made, a popular revival of criticism will take place. However, this will only occur if the most common and influential blogs and reviews are written by knowledgeable enthusiasts of the art industry, who will use well placed context and will raise the standard of writing. Therefore, it is more appropriate that we revert back to the poetic criticism where a well researched and structured piece of writing is applied.

Take, for example, my 10 000 word dissertation titles "Where is 'Great' Britain? I could not write this without considerable research into the topic. I am however, aware of reviews and art critiques to be substantially shorter than this study but surely they should fall into the same class and require the same amount of sophistication to make an impact? Maybe if Brian Sewell turned his expertise to writing in these contemporary blogs then he could reach and affect far more people than he currently does. With this point raised I must now stop procrastinating and begin book number 18 of this long process of dissertation research.

# 1 [21 July 2008]

Inspiration For A New Blog...

Having just read Lara Farrars' recent article in this months a-n debating whether the internets "blogopheres" have rendered the art critic obsolete or if it "holds the key for the revival of the profession", I have been inspired to begin a blog of my own. David Lee once said "Art critics are entirely insignificant... There is no art critic today who has any influence at all on whether an artist becomes famous". I disagree with this. Take Rachel Lois Clapham for example, as Farrar mentions, she found success in posting reviews of contemporary art shows on her MySpace.com page and goes on to say that blogging is democratic and gives opportunity for people to rise to the surface of art writing and bring emerging artists to the attention of a larger reader base. Farrar also mentions that Lee considers art critics today only visit a small minority of shows and have a "very narrow coterie of taste". Unfortunately for tabloid critics this is largely true. Therefore, I am going to set out to prove this wrong.

I am currently studying fine art at Portsmouth University and work in The Aspex Gallery, Portsmouth. My art work combines the romanticism and the dangers of our UK coastline. Using photography and found objects, to create installation pieces that inform people of the real industry of the coast, and not just what is typically seen as being the British seaside. Namely, Victorian piers, fish n' chips, Punch & Judy and the ever fashionable socks and sandals. Combining my own work and experience with exhibitions at The Aspex Gallery I am frequently coming into contact with emerging artists and issues relating to our coastline. Take, for example, the latest interest into Caroline Wright (also from this months a-n).

Hence, in this blog I will be aiming to talk about my own work and its progress in the last year of my degree, and to discuss issues and debates relating to art which involves the coast in many diverse ways.