Lead by Anna Miles, Ian Jervis with Finn Ferrier
What were the significant issues raised in the critique?
- My choice of materials and their visual qualities (the type of weave/colour/thickness/type of rope. Size/shape of the wholes in the chicken wire) need to be fully thought about in relation to how the viewer may interpret them.
- JOINS - because of the minimal quality to this work, the obvious anchorage points to the walls were discussed as distracting and it was suggested that they would have worked better if they were behind the walls, out of view. This I disagree with to some extent because I wasn't intending to create a perfectly suspended form with no other distractions. I think if I were to 'hide' all the attachments it wound feel to me like I was trying to use nylon and hoping that the viewer doesn't see it. But I do think that my joins to the wall could have been tidier, or some in view and some out of view.
- My 'anchorage' was also debated. Some wanted to chop it off and didn't see the need for it, and others saw and enjoyed it's function but would have liked it to have had more weight to it (a concrete form or something similar).
What issues surprised you or offered a reading that you had previously not considered?
- If it wasn't grounded with the anchor then the wire may 'breathe' more.
- Formalist grid, drawing with line. Rope draws in space when pulled tight and then breaks the formality when left to noodle.
- They didn't want to see, and there for think about the joins.
What changes did it bring about immediately in your work?
- I thought about why I felt the need to anchor the work to the floor in some way. And I still haven't come to reason, although I do know that I should have put a lot more thought into WHAT I was using to anchor with before it was presented.
- The fact that I had used the architecture in my studio space (the over head pipes) was commented on to be 'a worry' by one person. I don't really understand this comment, but from it, I take that I should be looking at other methods of hanging/joining and also different sites I could make my work in.
- I didn't like how much of a drawing the work became to some of the viewers.
- I need to be very careful of tensions on the string, to make sure that the ones in use, are tight. Otherwise this causes confusion.
Can you identify areas where you will have to develop further aspects of your practice in order to achieve your desired results (intent), eg. your skill base, further testing, research specific materials, look at wider social, political and historical contexts. Describe what actions you are going to make to develop your work.
- Testing different materials for their connotations that they naturally bring and for their both functional and aesthetic based qualities.
- There is always more research to be done. Looking at a wide range, beyond the art world. Things that interest me... science - physics/biology, femininity, nutrition, the human body under stress/ pushed to max, fitness/exercise and it's amazing ability to create change in our bodies and mind. I guess I like seeing somethings effect on something else and the relationship it forms.
Was there an aspect of another critique that you attended which raised issues pertinent to your own art making? What were those issues?
- Ross - an investigation into weight and support. He built these wonderful structures (mixture of self supporting and using suspension) that seemed dangerous and unstable yet solid. Viewers awareness to their own body and position in relation to the structures and in space. We are seemingly drawn to similar materials and i enjoyed seeing someone else's engagement with them and how playful it felt.
- Mark - brought home to me the power that objects with bodily associations and qualities hold.
Something that stuck out was also everyone's avoidance of titles. Often people said that in past years that when they titled their work it was the focus of the critique instead of the work itself. So thats scared me off trying to title my work a bit for the moment.
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