Untitled #3 [Fabric]


Again similar to the first one, using the same techniques and materials, however, this time I have added watered down paint which was able to seep through the fabric. By dragging the paint I was able to achieve a glitch effect, one that I was hoping to achieve digitally.

Compared to the first

To take this further I will begin to play more with the sense of space using a chosen colour palette.


Untitled #2 [Fabric]


Everything to do with piece of work will be part of a process  and the  process is what will help me create a body of work towards my final outcome next year.

Using polyester as a fabric was a choice based on cost and its purpose. The purpose of the fabric is to enable the ink or any liquid based material to seep through onto the Fabriano paper behind. This is all part of the mark making process. Doing this was a huge advantage in my exploration of materials as it gave the result that I was expecting.

Take this further now I will explore the same technique b using paint and ink mixed with water and hopefully this will produce another piece of work both on the Fabriano paper and the fabric.

Tutorial [30/10/2017]

During my tutorial with Davida, certain factors of my practice were highlighted. I have thought about certain areas that I should focus on and how I will push my exploration towards materials further:

  • think about the process that is used to create the work and how this is the process that is used to create accidental marks
  •  Everything that has been produced up to this point is what can be used to carry on making work. Whether this is the marks that have been made or the process and refining it.
  • Do not throw in random work i.e. materials and mediums and focus more on what I have
  • Digital? Scan work into the computer and think about possibly printing digital work onto the fabric and/ or paper
  • Push the process to its limits.
  • Consider using more personal materials.
  • Doesn’t always have to be paint
  • Also look at Karla Black and her process behind her work.

I will take these notes further and continue to push the process, that I have been using, to its limits. This will again enable the work to be successful and show and prove how the interaction of materials can be manipulated in various ways.

Untilted #1

Responding to the image and combining my own way of working is displayed in this painting. By collaging Guyton’s work into the painting it questions the origin and if the collaged elements in the painting are work from the collection or are they now mine?

Again I have stuck with the mono coloured palette and I believe I will continue to use this as it is a direct response to the chosen artwork.



  • Find a better base material
  • Focus more on a subject maybe bring celebrity culture into the work as it is my interest and the area that I explore.
  • When working at large scale maybe plan what I am going to do first.
  • Bring in different types of surfaces to work on.
  • STICK WITH PAINT and continue to be playful.
  • Maybe bring in ink and use that and see how it interacts with the paint.
  • Use screen print to create a re-occurring pattern as it will create a new layer on the work.
  • Start researching Guyton techniques and figure out how I can adapt them to my work.

The Function of the Studio

Having a studio is a gift for many people and is something that I will hopefully continue to have throughout my career when it begins. Throughout most of my education, I had always thought having a studio to do your work means that you’re a proper artist and a good one, however, taking a visit to Davida’s studio proved me wrong.

Davida studio is her house which is an interesting take on the idea of the studio. From engaging in conversations with Davida and the rest of my tutor group I realised that you don’t always need a separate building to be able to have a studio. I suppose as I have been lucky enough to be in institutions which supply me with a studio this might not be the case in the future.

Seeing the success Davida has had over the years and integrating her home life and her art life together, helped me come to the understanding that a studio is what you make it be, this being either at home or somewhere else. It is a place where you create work, where you develop your ideas.

This experience has taught me that I need to be able to adapt to work wherever as I may not be lucky enough to have a place to work permanently.


Torbjørn Rødland – The Touch That Made You [Serpentine 2017]

Rødland explores familiar situations through photograph however, he creates an underlying lyricism and poetic language. A situation like the one below would normally be seen as societies norm and erotic but, because one of the subjects is an older man it is seen as disturbing, and not normal.

This is to make the viewer feel slightly uncomfortable, but also see the reality of societies rules. By doing this it keeps the audiences engaged and as Rodland states it ‘keep you in the process of looking’ (Serpentine Gallery Website.)

Personally, I find the longer you look at one of his photographs the more you understand and the uncomfortable side soon becomes comfortable. This may be from an art students perspective, however, by looking at the image for a great length of time you begin to see elements that of a staged photograph. Reading the information leaflet from the Serpentine it does state that the majority of his work is staged and again it is to show the underlying problems with the rules of society.

Below are some more images from the exhibition that explore the concept in different ways.

Responses to Das New Yorker Atelier

Visual research began immediately once I had found Guyton’s work. I had chosen this particular piece from the collection:

Untilted, 2016, [Epson UltraChrome HDR Inkjet on linen] 84×69 inches

The reason for choosing this particular image is because I found visually showed the techniques the Guyton has used. It has a playful element and demonstrates the space between us and the reality that Guyton has created.

In response to my chosen artwork, I decided to focus directly on depth and the use of mark-making, to begin with. This was done with acrylic with a mix of PVA glue on paper, to begin with. To create the drips water was applied which created a burst of mono colour.


Removing colour and uses a monochrome palette adds to the depth of field that is present in Guyton’s work and what I am aiming to create.

To take these further:

  • Continue using a mono palette
  • Use different types of surfaces
  • Use different materials
  • Layer more – this is to add to the depth
  • Continue to use thick materials to create a 3D effect
  • Scale up.